Joseph Owens
16
COW Coins
16
DaVinci Coins
Forum Replies Created
-
[Sascha Engel] “Without them interfering with one another?”
It has been advised against in the past. The way to approach it is to create a separate boot so that the two apps have no chance of seeing each other.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
-
[David Roth Weiss] “very pleasantly surprised”
That would be a good thing. However, having been so unpleasantly surprised for so long (22 years) of having to wade back in again anyway and hand fix or at least manually verify the scene-detect, I find that if I bring a “dummy” XML or EDL from the edit onto the timeline, that Next and Previous work extremely well with command-B and then I have total control. Mwahahhahhhaha…. so if I do have to work through a dissolve or other type of transition, I can situate a razor cut in the middle of it and then lay a cross dissolve on top of it. Works. Also verify the conform at the same time in case the creative editor has tried to slip something by me.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
-
If you search the manual with the term “DTS”, you get a few hits, but they are about IDTs, so no.
You’re probably looking for a way to author a DVD or BluRay disk out of Resolve? I assume you would need a license to export DTS, like Dolby Digital, AC3… (whether it is implied in the application or not).
In the Delivery page, it looks like your choices are PCM or AAC. That’s it.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
-
[Seth Thy] “Does Resolve remember the cuts”
If you need to change the source directory where the original full-length movie was situated, you might be able to re-link the reference to a cloned version of that file –in other software its an old trick for bringing forward a revision, so long as nothing else has changed. I haven’t needed to try this in the software version of Resolve.
I’m not a fan of Scene Cut and haven’t been since 1995. You still have to go in and manually check all the cuts and there is no provision for repairing bad decisions that the software has made once the import is complete. What might prevent this from working is that Resolve treats the scene detected events as separate clips (understandably to create some independence from the “Master”), but then you are ham-strung in the same way that there are no “handles” to create correction transforms between composited or effect transitions — you’re in keyframe mode which may or may not be okay.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
-
It would be an option if you had built a new project with the source media — but I don’t think you’ve started grading anything yet, so never mind. It would be a way to get established grades from a proxy timeline into a reconformed source media project.
jPo
[Philip Hahn] “Not sure what you mean by copy grades, how would that help?”
“I always pass on free advice — its never of any use to me” Oscar Wilde.
-
[Jason Belleci] “the footages are Proress and in BMD film color space and when i used the kodak 2383 luts form Juan Melara but it looks so contrasty and losing all the shadows,”
ProRes (422) is a codec that operates in 709 Linear colorspace with a black-to-white range of 64-930 (10-bit). If you use a LUT that assumes the input range is RGB Full Scale 0-1023, you might see a difference like this.
Dan Moran has a suggestion for LUT workflow new to Resolve 12.5, which involves using an OFX plugin to host a LUT. To my mind this is a lot more flexible and may go some way toward preserving the inherent dynamic range of a clip no matter what its original format was.
https://mixinglight.com/portfolio/resolve-12-5-dans-favorite-new-features/
Specifically he addresses this at around the 4:00 minute mark, but he also illustrates some of the newer simplified color temperature and tint controls, for those of you who undertake grading from a Photo-shop model.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
-
[Philip Hahn] “Is there any other way how to do this?”
Force conform? Copy grades?
jPo“I always pass on free advice — its never of any use to me” Oscar Wilde.
-
[Jason Belleci] ” it was because of the output color space that I have set on the color management setting page,”
so are you saying that you thought you were getting a grade adjustment but that you were using a display LUT… that only affected the monitor rendition but was not being applied to the footage?
“I always pass on free advice — its never of any use to me” Oscar Wilde.
-
[James Spicer] “So it is likely that the new AAF when imported into Avid only contains a duration up until a change was made?”
That would be a new behaviour — so, not likely. It did used to happen in Silicon Color Final Touch with XMLs that were unwarily revised.
It would be equally weird that an I/O endpoint selection was at fault. The AAF that was exported out of Resolve — was it a “roundtrip” export or a “Generate new…” operation?
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
-
Not a lot of information to go on… could this be a difference in interpretation between 25p and 50i?
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.