Joseph Owens
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COW Coins
16
DaVinci Coins
Forum Replies Created
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There is an AWB in Resolve. We don’t talk about it much.
If you were using the application with the Resolve control surface, there is a cursor-directed workflow that gives the software a clue as to what you want to equalize, but otherwise “AutoGrade” which is explored in the manual… Chapter 25 Automated Grading Commands… looks at the highs and lows and makes them equal RGB.
Looking at your sample frame, you will probably get something very blue/cyan, because it looks like there is something incandescent warm splashing from the bottom of the screen while Lady Liberty looks fairly R=G=B nearly black.
In which case, you will be in the same boat as the rest of us scrubbing out the rings and balls until it looks okay. Learn how to use the scopes. Go ahead and do an [Option-A] and see what happens, maybe work from there.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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They will work , but they may not add up to the performance you may want to achieve. IF you use “share UI for GPU rendering” the system will operate at the performance of the lowest card.
Consult the BMD configuration guide.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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One way is to click the XY “Lock” link situated between the Zoom sliders in the Edit Item Properties “Transform” dialog.
Also Width/Height Color PTRZ dialogues.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Jeremy Donaldson] ” I notice the footage looks bad. The blacks are crushed and so on. “
If Resolve is linking to the original R3dcode source file, I fail to understand how the footage is being “degraded.”
If the “blacks are crushed and so on”, then it is most likely a case that the RGB full range is being mis-mapped between 0-100 IRE. It is a common ambiguity. Click on the media file properties and choose the correct option (away from “auto”) to see if that has an effect.
As far as the source settings being ignored, that may be one reason. Because Premiere is pre-conditioning the media prior to being handed to its timeline, this may also become an issue on the round trip, where the same assumption will be made about the RGB/Linear range setting. I would test this with a couple of sample clips before I surrender the timeline to a couple of hours of anguish and heartbreak.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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Are you rendering in individual clip (roundtrip) mode or exporting the entire timeline as a single file?
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Øystein Rabbe] “What happens when I install the card is that the Mac seemingly boot up, it goes a little time (30-60 seconds) and then it restarts and the same process goes again and again. Never getting anything on the screen.”
Yes, that means that you don’t have an appropriate driver and the OS boot doesn’t think you have a GPU installed. Are you trying to run Resolve on the GTX970 inside the Mac? That will be a power concern.
Try looking for an nVidia driver like 346.02.03f05 which is what I am currently driving my Titan Blacks with under Yosemite.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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To take full advantage of this, the UI GPU should be a match to your rendering GPUs, otherwise performance is throttled to the lowest common denominator, so the (plain vanilla?) Titan might not drag down your Titan X’s, but if there is a large memory mismatch there might be an effect.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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Blackmagic publishes two documents. One is the operation manual and there is a configuration guide that helps with hardware.
If you have a Decklink 4K Extreme, it has SDI input and output connectors. I have an SDI SmartHub that serves as a distribution router, so my Resolve suite can be switched to multiple destinations.
If you have a BVM-E250 (“Sony Trimaster El”?), it has 2 SDI inputs. RG-6 coaxial cable should do the trick. I assume BlackMagic Desktop Video is installed and configured.
You do not connect any of your onboard GPUs to this monitor.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Nicholas Zimmerman] “If anyone has advice, I’d love to hear it”
Seems like your colorist had a good reason to move away.
Keyframing first and last almost never works.
Strategy 2 is where most of us wind up.
Curves may still come into play in this situation. There may be different curves inside a number of area qualifications for this to work.
The rest are pretenders.
Flicker fixer induces a lot, and I mean, A LOT of blur, especially if this is more than a little blip.
Not having seen the picture, and I’m imagining a person’s face with some kind of depth-of-field background, perhaps at a different exposure level…
How much relative movement is there between the frames? Are there areas in the picture that change exposure at different rates? Are you on a particularly non-linear part of the camera’s internal transfer/exposure characteristic?
Something that might be a shot-in-the-dark would be to export the offending frames and a few before-and-after as dpx files, name them non-consecutively so that Resolve doesn’t treat them as a clip, and try its scene-match. Never tried it and its relative success is likely for pictures that are more different than they are similar, but you never know. The machines will do whatever they want.
Its never a case of simply adjusting gain down a few points — the entire transfer curve changes with exposure and the only point at which you know you have succeeded is when you actually play them back and you don’t see anything pop. For that reason correcting the hell out of them in still mode can never tell you whether it has worked or not — even split screens are relatively useless. This kind of takes away from the inexperienced notion of “auto-correcting” anything by the numbers. Even if the numerical values match, your eyes don’t know that and while everything in a scene is dynamically affected by everything else, its well established that even identical values within a frame will look different in comparison to what separates them. Those famous two patches of grey, for example — one surrounded by white and the other by black — one is alway perceived to be darker than the other. So this is another thing you have to defeat — human vision.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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Not all transitions are translated exactly between NLEs and Resolve and you should expect some discrepancies. The other issue with cropping is that you will run into absolute value mismatch if there are any format multipliers — resolution or aspect ratio changes.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.