Joseph Owens
16
COW Coins
16
DaVinci Coins
Forum Replies Created
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[Rafael Tasios] “If I upgrade the internal drive to an SSD would it be ok to run the software and read the footage from the same disk?”
Its still not a really great idea. If you’re going to buy another drive, dedicate it. The system drive is not your bottleneck.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Piotr Wozniacki] ” I don’t seem to be able to figure out how to make Resolve put my clips to a new timeline in the above described order.”
Name-sorted?
How are you creating the new timeline?
Do you do a name-sort in the browser, select-all, add to timeline?jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Joe Loria] “Could someone give me a general overview of the equipment I need?”
Black Magic publishes a configuration guide that is fairly exhaustive, but for a MacPro circa 2010 (5,1?), you would need to try to find the September 2013 version, as the V12 *most recent* document only discusses the nMP coffee-can. I think referring to it as the “trash-can” is disrespectful to R2-D2 and it is also useful for tasks that do not try to take full advantage of its thermally-challenged resources. You’re not doing that, but everyone else does.
At any rate, part of the graphics-vs-grade choice of reference monitor is really coming down to what you want to spend vs. what you can afford — and what I mean by that is that you will spend a great deal of money and effort (charge yourself accordingly for the time it takes you to align the thing) plus the level of software, licensing & support plus a measuring device that is not a toy or is actually meant for cinema, not photography. There is a difference.
If you can afford all this effort — and it will be a continuing one, because most (even prosumer) do not have the corner-to-corner linearity that an A-Grade reference monitor has — it will have a very slow tendency to wander. No LUT can cover this deficiency. It would be like asking your fiancée to accept a cheap gemstone, but “Here, wear these glasses and it will look like a better diamond.” People love to compare sports cars, &c., in this regard but to refine the analogy, its more like trying to convert a Toyota MR2 or a Pontiac Fiero into a famous Italian make. Technically possible- there are kits, but it’s still just a 4-banger (Fiero could be had with a V6, though) in different clothing. Red, yes… Marlboro red? Rosso Corsa?…nnnn… ott so much.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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Chapter 26.
Color Page Effects.
Blanking Controls: Output Sizing has a set of Blanking controls that you can use to add custom blanking to a clip or project. It is always placed last in the concatenation so color or contrast adjustments have no effect on the blanked area.jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Dan Davis] ” I would have thought that the 10bit file would retain any information.”
A matter of some curiosity to myself as well. There are some compromises in this approach IMO, because I am not convinced that the “ranging” and gamma-transfer curves are equally valid for both data formats. Bringing in DnX-“baked” MXF containers does not yield the same output values in Resolve that are being generated in NLE applications using their versions of, for example, any of the Sony S-Log profiles. This is easily tested by comparing a baked offline chase video with a side-by-side grade in the color correction timeline. The disparities that I see can be somewhat matched by cascading a number of profiles — using two successive OFX ColorManagement nodes can come close — experimentally I can recreate more or less the same Media Composer output with a “Rec-709” concatenated with a “SonySlog” gamma transfer, but this is still two nodes before I can start where the editor left off. If there is a fairly large exposure-delta, the anti-log transform still might be distorting the transfer curve to a point where I may as well have re-engineered my own linearization process – and for which the camera originals may have the best chance of success.
Bottom line, though, is if you are in the middle, not really any differences to speak of, but if the shot needs to be pushed or pulled some distance, worth it to reconform.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Dial Jay] “If I apply it to one clip then try to apply to all clips it applies the “Auto Color” settings that it applied to the first clip and doesn’t take the other clips into consideration.”
So your thinking is that “Auto Color” is a scripted instruction that gets stored with a grabbed still, and if you copy that correction to the rest of the project it “Autobalances” the entire show?
The still is like a LUT — when you invoke it, the Auto Color instruction performs some kind of analysis on your selected image and generates a set of RGB adjustments, like punching the “Auto White” button on a camera. When you apply that still to all the other clips on a timeline, it applies that adjustment — it moves Red this much, blue that much, and green some other much, what it did for that one image.
What you might be looking for is the “Shot Match” function… Do an Auto Color on your hero shot, Command- or Shift- click your entire timeline, right click the hero shot, and choose “Shot Match to this Clip.” The function is discussed in the manual, and you can find it easily with “Shot Match” as a search term.
Good luck. This function is intended to do a ballpark estimation, and its success depends on whether the rest of the timeline has anything to do with your hero shot. Sometimes bigger differences are reconciled better than small differences, but in the end you are surrendering to the machine.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Pedro Miguez] ” If I choose “keep sizing information” at import, it gives me what appears to be a 4K timeline where I can see all my clips cropped with black all around (even though I’m selecting a 1080 timeline at import)”
Look at your Project Settings… Image Scaling…
and you will find three categories that will affect how the incoming image is reconciled with your timeline resolution. You can choose to “Override Input Scaling” because Resolve is, by default, doubling up the transform by first scaling your 4K material down to fit it within the 1080 timeline, and then your FCP transform is also being applied, which is probably taking the image down by another 50%, within whatever other XY geometry has been applied.
You should likely also check your Master Project Settings to confirm that your timeline is actually what you want, and has not defaulted to something else. Usually it should conform to the FCP sequence XML — you are asked that question on import.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Will Fiennes] “What I can not see is if there is a way to re wrap on the way out , so no transcode takes place, thus making the the export nice and quick. “
The first thing that occurs to me is to use the Media Management – “copy” option. It is not the most robust in the world, but if you are really just looking for clip management and don’t necessarily need the entire project (if/when it crashes, you can sort out what it managed to do) you might be able to pick it up from there again. Not sure of the mechanism involved in avoiding a transcode if you are changing the wrapper and metadata within the clip.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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have you tried throttling the render speed?
Do you have any particularly processor-intensive nodes in the grade? — biggest cause of system overload is NR.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Neil Goodman] “to ask this from other folks posting upthread who are working with ProRes and DNxXX — is your footage being shot in those formats, or converted for post?”
Its a blend, depends on how much time and effort the upstream production can afford also taking into account the editing platform and what that preference might be in terms of “nimbleness” of the codec. Generally, for long form and drama, we go back as far as we can to camera original, like doing a neg-pull, and then I start linking to XAVC and RAW with all its log profiles, &c. IF the editor is particularly dedicated, they will do a Resolve conform and send me a .drp so I just lock and load, dive straight into a grade with most, if not all, conform issues falling to the production.
Generally part of the post stream involves exporting and re-imbedding VFX, and those are travelling in DNxHR HQX, ProRes4444, and dpx sequences. I also get a certain amount of jpg, png, tiff… as stills and as graphic animations.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.