Joseph Owens
16
COW Coins
16
DaVinci Coins
Forum Replies Created
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command-f
will fill your screen, but it is not meant to be your grade reference monitor. That sort of makes it a little easier to see window adjustments… also option-f will expand the viewer to fill the upper part of the screen and leave the adjustment controls on the bottom half. Again, not intended to be used as grade reference,as the display is subject to your Operating System ColorSync overrides.
Beware.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[carl jobs] “ATI Radeon HD5770 1024MB.”
If this is the only graphics card in the system, you are under spec for 4K anything. You are not taking advantage of CUDA processing for starters and the minimum recommendation for resolutions above 2K begins at 3GB of VRAM. Its surprising you are getting the render speed you are seeing and simply not crashing all over the place. In any event you are shortening the life span of your hardware.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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The other deal is that the element stream that your disc authoring application wants may be re-processed anyway, if it is not specifically aimed at being a picture or sound codec for that purpose; for example, an m2v or 264 transport.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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Framerate issues have been a bugbear since day one.
Every NLE has its own approach, and most of them are incompatible. There is a clickbox in the import dialogue to give Resolve a hint about where the XML is coming from, and specifically whether to select Mixed framerate format from a couple of NLEs (or none). Some NLEs offer major trouble when it comes to variable speed remapping.
Fundamentally, the application was originally designed to handle sequential image files, and for a long time where a specific frame might land was entirely dependent on getting the in-point correct, and then counting individual frames from there, according to the sequence base framerate… So the 30th frame in a 2997 sequence was at the one-second mark, but if the original source clip was 23.98, it would be 6 frames short.
If you are happy with the time-remap in Premiere, the only 110% bullet-proof method of grading the same frames ad getting them back in the same order is to “bake it out” as an independent clip, and re-imbed it, either in Premiere and then ship it to Resolve. Alternatively, re-map it in Resolve from the original source clip, taking advantage of the nearest/blend/optical processes. Then bake that out as an independent clip and re-imbed it in Premiere. It is unlikely that Premiere would be able to interpret the speed remap that Resolve generates and sends back in a roundtrip XM… and as far as that goes, exporting an AAF might be a better idea.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Marc Wielage] “Get the specs from the distributor”
That is the key. Once you have that document, then it will be time to negotiate what is possible and what is “Peanut M&M’s but no brown ones” and what they really need. If its a theatrical, the list will extend way beyond the movie itself. They may want a DCP, they may want a DCDI, they may want audio stems… subtitles…
At a guess, establishing the base resolution is probably what you are asking — I’d take a wild stab at 2048 but I’m not the distributor. Could just as easily wind up at 1998.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Magnus Roervik] ”
I’m using Resolve 12 free version, are there export limitations on it?”Not really, not in your context.
Does your original footage have unique, unambiguous time code?
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Bob Cole] “Can I create a backup without causing linkage problems to the original “Projects” file?”
Basically the same rules apply as most NLEs; there are consolidate options and then there is the more straightforward export of a .drp — but it is still going to expect the source media to be where you initially linked it to create the project database.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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Try lowering the rendering speed. The GPU might not be getting source data quickly enough.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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You want to work with a qualifier in secondaries.
jPo“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Herb Sevush] “As for shooting wide to reframe”
Wouldn’t it be grand to also have the color depth to work with?
Attendees of the Supermeet a few years ago, when it was still the FCPUG, featuring the esteemed Mr. Murch will recall his position on re-framing voiced during that address – in that he loved the idea of being able to re-purpose a wider shot into a medium, CU, or ECU as desired… sort of a French reverse, just tightening it up to get a new shot. Three for the price of one.
Terrific. Here’s what bothers me a bit.. the optics don’t change. Do we not use things called “lenses” anymore? Is there any consequence to depth of field or circle of confusion or MTF? Tempting to flip that “M” upside down for effect.
Also seems like the interview was edited… of course it was — is it just me or is there that much purism that the second camera was left green and soft for effect?
If you can find it, there is also an interview with post supervisor Michael Cioni on this forum…
https://library.creativecow.net/kaufman_debra/The-Girl-with-the-Dragon-Tattoo/1worth a read-through, a valid strategy, especially if you don’t have very good actors, because it allows you to stitch performances together in-frame across takes. Mumbling or not.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.