Joseph Owens
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COW Coins
16
DaVinci Coins
Forum Replies Created
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[Marc Wielage] “I literally use a $50 Dell monitor for scopes only”
I configured my original master workstation with an HD-SDI VideoTek WFM-900 external hardware scope. Its one of the only original pieces of equipment still in use 11 years later. It has an external VGA output which I route to a cheapo HP_vs15C (4×3) for exactly the same reasons. One of the big advantages of the hardware solution is the YRGB wafeform parade, but also valuable because it does a patented “Eye-pattern” out-of-gamut analysis tool in simulated YIQ composite mode. Needless to say well outside of the OS-mediated graphics/video process, a dispassionate and unassociated third-party analysis.
jPo, CSI
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Shane Ross] “Anyone have ideas?”
yeaghh….
Dealt with a 23.98P project a short while ago that the editor swore up and down had been exported as a progressive single file, but what I saw obviously had some kind of field dominance in it — there was a significant amount of NTSC 29.97 that had been added to the original Premiere timeline. The dead giveaway was that played in reverse, the field motion looked smooth. And it definitely was not, going the other way, Play Forward.
Do a search “dominance” in the 12.5 Manual. Under Project Settings and Preferences there is some counter-intuitive advice. Depending on whether or not your project is progressive or interlaced, you have to choose alternate approaches. The advice is Enable video field processing in an interlaced project, but to de-select it in a progressive one, or it will disable Deinterlacing. I know….?
There is another discussion under “Changing Clip Attributes: in Chapter 9, “Working With Media.”
You are aware of course that the way FCP used to deal with dominance is to shift the media 1 pixel vertically.
jPo, CSI
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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“If you’re unhappy with the way you’ve rearranged the Resolve UI, you can choose Workspace>Layout>Reset UI Layout to restore the UI to the default arrangement.”
I’d be curious to know what would happen if you switched between Single Screen and Dual Screen if that option was available to you, to see if the scope windows hopped around or reset to default.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Sarah Bright] “allows you to map information from one channel to boost another, do you know if there is such a feature in DaVinci Resolve Lite?”
Yes, such a feature exists and it is not a plugin. It is the RGB Mixer in the Color page.
Grading underwater footage can be tricky as the “red cut” varies with distance. Once you achieve a balance, you will note that if object distance from the camera changes, its tonal balance will shift, so you’re probably in for a certain amount of keyframing.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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If you really need access to the dock, and this happens if you get a Resolve processor halt, and then the feature *really* doesn’t work, open something from the top menus, Date/Time Preferences is my *go-to*, and you can float it over to the side or bottom, whichever, like a life raft.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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Yeah… ecchhh.
[Marc Wielage] “What does the cinematographer say? This is more of a creative choice than a technical one. “
Grade, of course in the lowest aspect ratio, and then keep cropping/letterboxing from there. We’ve had this issue forever and the worst compromise solution was “common top line”. Too late, you got me started.
Sometimes I wonder [Roger Daltrey] if we are going to have to start demanding ground glass references again. Cause there ain’t no cure for…
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Benny Herch] “Is there a way where Resolve saves the grading adjustments to the filename or something?
“Its the timeline process called “Colortrace” which takes a bit of reading to grasp, but can be fairly straightforward. With the new sequence selecte4d (imported in Resolve), you will find a right-click Timeline… will open a dialog with Colortrace as an option. Find your user partition, project and the timeline you want to copy from — there are two modes, auto and manual. Depending on how robust the match is between sequences, you may get the whole thing, or if there are some missing, then you can resort to a source/target mode. There are other ways of importing grades from another timeline, using stills as a transport mechanism, or power grades…. memories…
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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This looks like a memory overload exhausting your GPU resource. Its spectacular to see it working with 4K AVX, a couple of nodes of NR, and an OFX plugin that does temporal processing! Trying not to let clients know about it, because they’ll all want it as a special effect.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Dereck Hoekstra] “am I missing something here?”
Nope. You are correct, Resolve 12.5, as differentiated from Resolve Studio is output-limited to UHD.
License time!
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Tristan Olson] “Bummer. Guess I have a worthless T-Tap. “
Maybe it was an enthusiastic Zelin post, understandable because it is a relatively inexpensive box that does an interesting thing, converting Thunderbolt output to HDMI/SDI. Which is great but… thats not how Resolve works. Either you force-calibrate your UI, which is also not how it was envisioned to function, or you follow the yellow brick road out using the devices it was designed for, which is pretty much all of the Blackmagic I/O box/cards/ thingies. Its about controlling the result, and to get there, it was determined that managing the hardware was important in order to bring some order to the chaos.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.