Joseph Owens
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COW Coins
16
DaVinci Coins
Forum Replies Created
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Most of the mood in these two scenes is art direction. The clip@16 is wood tone, flesh tone, Colts jersey (or facsimile thereof) and cool in the pillow. Saturation is probably around 20% maximum, and a very shallow depth of field plus a denser gamma curve toward the bottom lends a very filmic transfer function. Maybe a little bit of chromatic desaturation at the bottom of the luminance curve. There used to be a style of blue-blacks.
Notice how the foliage jumps up in the verandah composition, otherwise it is the same palette. I expect the foothills in the background would have to be treated with a qualification to separate them in order to preserve the misty distance, otherwise, the density curve to keep the foreground semi-silhouette would interfere with that. Some of what is available would depend on whether there was some kind of log-remap going on in the taking camera and codec.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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The exclamation mark means that Resolve thinks there is an ambiguous link. Double click on the alert and it should display all the clips that it thinks might be a candidate… choose the one you think it is.
Always a great idea to export a baked timecoded chase video to load as a reference to reconcile any discrepancies.
Then you can “force” relinkages that don’t occur naturally.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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Would have to backtrack to confirm this as a post-import process, but it has always been an option (uncheck the default) to use “sizing information” on the XML-import dialogue.
In Resolve 12, you can un-check the PTRZ settings in the Edit page under the Clip settings disclosure.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Glenn Sakatch] ” get a spec sheet from the broadcaster. Understand their break structure. (CBC is going to ask you end on a full second and start on a full second for each segment.) This can really screw with your mind when doing your final timing.
They may also accept a 23.98 version of the program, depending on who you are submitting it to.”
Gee, I wonder which production we’re talking about…????
Note also that because of the convoluted relationship between 23.98, or 23.9759 if you want to get pedantic, and 29.97 interlaced Drop Frame, there are some things that you cannot mathematically achieve with any workflow that currently exists, other than tweaking each frame-base timeline by a frame or two here and there — the “on-zeroes” stipulation, for example.
If you have done this for long enough and worked through enough scenarios, eventually you figure out that 10 Hours Drop Frame starts on a C-frame. If you don’t understand that, you don’t understand the workflow yet.
It also goes some distance in at least putting the problem of hitting those contractually-obligated requirements on the table. Very, very, few NLEs deal with the conversion accurately, and pretty much none of them are field-aware to the point where you can work out where your redundant B, C (mixed-field) and D-Frames are going to land. They just don’t, and most of the time, can’t, do the math.Complicating this is the fundamental issue of trying to conform a 29.97 interlaced deliverable on a 23.98 progressive sequence. The 4/5 *frame* fractional relationship means that you cannot control where any given edit boundary will occur. Because of drop frame, even the old “A’Frame” rule-of-thumb, that “A’s” land on zeroes and fives does not hold after the first minute, because the next “A” will land on a ;02. That’s just the legacy we have with NTSC, unfortunately.
All you can do is build in some slop so that you can jog something by a frame or two, after the fact (in the FRC 23.98 –>29.97 export), to hit the numbers. If your deliverable has some bumpers going into breaks, for example, that might give you the slack you may need. Try hard not to screw up your audio sync on all the stems that that will affect.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Dave Williams] “Went back and checked and all the one frame edits are in the time line at about 5 sec long.”
What is your default setting for still frame duration on import? I’m betting its 5 seconds.
Resolve is likely treating all these one-frame elements as if they were stills.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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The issue is with the extra core processing that it takes to reconstruct a Long-GOP format… easy enough in a Player-only application, which Resolve is not. Have you tried proxy or optimized media as a workflow?
If you do decide to re-wrap your acquisition format for post, there is a wide range of conversion programs, starting with Adobe Media Encoder, Avid Transcode, Apple Compressor… ffmpeg, maybe even Telestream Switch, Episode…
The search string “Media Transcode” will yield about 809,000 hits.The premise is to get your media into an intra framework so that the application isn’t wasting most of its time just building the picture.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Sam Petschulat] “Can anyone give me any advice on how to go about doing this sort of thing? Will I need to use After Effects or OpenFX within Resolve?”
Within Resolve, you have a couple of options. There will be a greater degree of control if you invest in an OFX plugin. There are many.
Do-it-yourself within the application would involve judicious use of keys and power windows. If you have removed the white bg, you might choose to keep some of it with an “outside softness” adjustment, or re-key the foreground and create a “glow” by doing a lift/gamma/gain adjustment in an “outside” node with softness and Inside/Outside ratio defining the extent of the glow. You may even be able to influence the color of the glow with this technique. That was my approach before OFX was supported.
There may be some “edge detection” OFX plugins available that might be worth exploring as well.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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I noticed on the Resolve forum that one bit of advice was to capture in .dpx sequential. This would be in the league of “Uncompressed” but I understand the poster’s intentions… IF you decide you want to access the Revival tools… otherwise its a dead weight / dead loss. Revival only works with dpx sequences.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Anthony Sneed] “Frame Rate 29?
Progressive or interlaced?
1080,720 or 640? (Final film will be 1080p)
QuickTime uncompressed 10bit yuv or pro Res 4444xq or something else?
Should I use DaVinci, Media Express or one of the Adobe Programs?”Assuming the VHS tape is NTSC, your capture will want to be as native as possible unless you have some kind of super-duper Teranex uprez converter. So 29.97 interlaced, and if it is real NTSC, not DV, full raster is 720×486. You will likely be cropping the first and last couple of lines of the video anyway, because of flagging and head switching errors. Ten-bit is overkill in one sense as the color-under Y/C signal on the tape is quite a bit less than 4:2:2, more like 2:1:0, but saying that, it is analog original, so unless your TBC introduces a lot of quantizing error, you may as well pull it in as ProRes (uncompressed is no advantage in this case, just “bigger”). If there are any test signals on the tape, worthwhile to capture those, as well, in case there is any possibility of fixing any of the heterodyning errors that are made worse by age of the tape, impact noise, and interchange head geometry. Try and capture by “S-connector” (Y/C 629) and you will at least get around comb filter decoding errors, as well.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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How do they not seem to be compatible? Does the Resolve browser not see them?
Beware that conversions may take away your ability to use the reverse log/lin transforms.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.