Joseph Owens
16
COW Coins
16
DaVinci Coins
Forum Replies Created
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The XML workflow in Resolve is based on importing the media related to a sequence. No sequence, no import.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Ko Frank] ” Does it mean this way was wrong for replacing sky?”
If you are actually replacing the video with a new clip, what you want to do is a “reverse stabilization.”
Do a stabilize on the original sky, copy that track to the replacement clip and turn up the strength to minus 100 (-100).
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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mp4 long-GOP source files are probably the worst type of media for Resolve. When I referred to variable frame rate, what it means is that clips captured with most consumer recording applications don’t always have a fixed rate. They may have a target rate, but it will drop frames that it considers redundant — to save space. There are many consumer iMovie-type editing applications that take this into account. Resolve does not. Although this may not be the entire reason that your media went “offline” — there are several reasons why that might have happened — this is a big one. The Resolve media browser is supposed to be a type of gatekeeper that should simply not show you ineligible codec types. Sometimes a masquerading source file gets past, but once it hits the float-decoder, it may “fly apart” and disappear from the rendering engine.
If you have a VLC type of re-coder, try washing your clips through that to create an “intra” codec format, like DnX or ProRes to see if they will then hang together in the Resolve sequence.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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You might be on the wrong forum.
Depends on what you want to do with the application. If you are recording video games and making demos of them, it probably is possible but this seems to be the hard way to do it. One very large issue is that most of the games and screen-grab software use variable frame rate techniques to reduce bit-rate overloads and generate smaller source files overall. This is anathema to how the Resolve application functions, and some would argue, opposite to what it was designed to do. It does have an edit function, true — its mostly there to help professional colorists import and export finished movies — with the express goal of color correcting the project, which is the express initial purpose of DaVinci Resolve.
There are tons of Player/Editors on the market that do not have either the complexity or system demand that Resolve has.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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The core media engine in Resolve is fundamentally different than the playback approach that NLEs are equipped with. Essentially, they are glorified media players that allow you to re-arrange how the clips follow each other and select portions of the media to exhibit.
Resolve is closer to being a VFX processor than anything else, as it presents a float-computed whole-frame RGB image to the application. That’s what you need to do in order to re-define the values and positions of every pixel. Up until very recently, real-time color correction was confined to very expensive hardware solutions simply because the sustained bitrate through storage, processing and display could only be supplied by a combination of hardware and weapons-grade servers. Not so much anymore, the efficiencies for this task have been found, although the requirement is still profound, and the bigger and faster your hardware is, the closer you will get to a real-time solution. Much of the image processing does take place on the GPU. Having several available in a system is the target configuration. CPU still does most of the image decoding, so if you are stuck with a relatively low-performing mother board, the application will have trouble with both ends of the file-size spectrum. That is, huge files (4K RGB dpx image sequences vs. extremely highly compressed Long-GOP Quicktimes) will both cause your system to either bog down or over-stress. There is a sweet spot with ProRes and DnX-type middle-compression codecs.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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2.2 is the old standard which referenced phosphor CRT displays.
2.4 is the new standard which is now in widespread use.
jPo, CSI
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Laura Fernandez] “In the Davinci the actual input/timeline/output color space is Rec.709 Gamma 2.4. (the monitor is in gamma 2.2). Should I change the Input,timeline,Output color Space to just REC.709??
“Which is the result of over-thinking things when the blizzard of formats gets thrown at non-technical operators.
“Just Rec709” should result in a 0-100 IRE output at 2.4 gamma, which is the standard. Your monitor should also conform with the data profile that is being sent to it.
There will be more talk now about source-reference and display-referenced profiles and colorspaces. If there is any advantage to the ACES workflow, this might be it, but it requires the understanding that the image is being placed in a universal colorspace and its flow-through values are dependent on the IDT/ODT transforms.
If you are complaining that the blacks are “milky”, its because the concept of 64-940 is not strictly relevant to the bit-depth resolution of the source media, but how those data values relate to 0-100 IRE. 709 mapping places “64” at 0 IRE and “940” at 100 IRE. The scalars on the waveform display effectively don’t correspond to anything. For the sake of simplicity, take the bottom to be zero and the top to 100 if you are operating in 709 linear.
jPo, CSI
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Laura Fernandez] “I know there are other conversations already about this Issue, but theyre all about luminance levels.”
This is an old analog “legal gamut” specification that applies to Standard Def 601 CAV (Component Analog Video) standards. Where did this come from? Are you delivering Betacam SP?
Its about as relevant today as 7.5 IRE pedestal in Standard Definition composite analog video.
You cannot measure it in RGB, because that’s not what it is.
Here’s the situation you are looking at:
https://jp.tek.com/datasheet/wfm1125-opt-0a-0b-0c-and-0dScroll down this datasheet and you will find a waveform example of Y, Pb, Pr and you will see where the 350 mV offset comes from and why there is a 0-700 mV excursion boundary. We don’t measure things this way anymore.
jPo, CSI
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Ben Dittrich] “Is it imported that the UI Card is also a Quadro Card?
Could it be that the driver of the quadro does not match the driver of the GT630 and this is the problem?
Does it matter that the architecture of the GPU Chip is the same for all graphics card, for example Nividia maxwell, or Nvidia pascal?”Shared architecture is not iron-clad orthodoxy unless you are sharing image computation between the UI and the image-computing GPU structure. You can even configure an AMD card as UI — that used to be a widespread practice. Is your slot allocation optimal for x16 lane to support only the GPU? The MacPro that I did configure (2011) with an internal Titan Black required that it reside in Slot 1 (with external power supplied), while the UI GPU (a Q4000) occupied Slot 2 and could be internally powered. And of course with the UI monitors attached to its DVI/miniDisplayPort outputs with nothing attached to the Titan.
Probably a good idea to make sure your OS and CUDA drivers are appropriate.
I don’t understand the memory-mapping well enough to comment on whether distributed processing among several GPUs is more efficient that a single VRAM-rich device. There is some debate about this and the notion that total VRAM is not additive… that is — 2 x 6GB Titan Blacks would not be the same as 1x 12GB [something].
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Raul Canas] “Does anyone have the same problem?.”
No, the default bitrate should be 10,000 Kb/sec. You should have the option of “Automatic” or “Restrict to…” where a dialogue box allows entry of a target bitrate.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.