[Joseph Owens]

[Drew Lahat] “1. If we stick to HD timelines, HD output and 1/2 resolution preview is there any hope? “

If you are shooting in 4K, working from that source media to achieve a good HD output, some of it will depend on your media drive throughput, but delivering HD, working at Quarter Res (for preview) should be achievable. Then jack it up for output. And go skiing for the afternoon.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

[Marc Wielage] “much more convenient than a global change.”

Or crossing your fingers with a “relative” or “absolute” correction ripple.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

No, you need a node to start applying any form of correction or operation… but stabilization itself is not part of the node-tree, it is a clip-oriented process.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

Its a bit of a re-model to wrap one’s head around how the group “levels” of nodes are applied — almost as if there are three color correctors at work. It is equally true that the *overall* grade exists in three parts and each are stored separately and need to be applied one at a time to accomplish a “copy” to some other clip that might be part of the group, but might benefit from some part of the grade. At the same time, preserving the independence of each individual within the family allows for more flexibility for scene-matching within the group.

In telecine days, we had a certain amount of access to this approach because we could think of the telecine device and the control/grade system as two corrections. The Cintel URSA had a built-in correction system that was directly accessible by daVinci (in fact as I recall, there was a version called a “Leo” that only controlled the telecine and had no correction capability itself) that you could do a PEC-match (like a pre-amplifier balance) which could be passed forward to the daVinci color correction system itself — so if you were working with a “look”, you could keep it, in a similar way to a “post-clip” correction, while tweaking the values coming off the film directly from the telecine — like the “pre” or “clip” layer, filter, whatever so to speak. I know that’s not what it’s really called.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

I use a Wacom Intuos3 for control point manipulation (stickhandling Power Windows shapes) but never used anything but control panels for grade work (Elements, at the moment). Its big enough to give a nice hand-to-eye correspondence with a larger GUI.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

[Gerry Curtis] “I want all of my grades to ripple like they did in previous versions of Resolve.”

Are you referring to the “Use Remote Grades” strategy of radiating Master clip grades to all instances of the same source clip on all timelines?

Groups work differently now in Resolve eleven.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

The “Magic Wand” icon is not the same sampling tool as the one in Photoshop — in Resolve, it is the “Highlight” toggle, which reveals the qualified area that you select with the Eyedropper in the preview pane.

On visibility: There is an option in the “View” dropdown… Window Outline… OFF/ON/Only UI which determines the Power Window extents overlaid on the preview/output monitors. Personally, I like Only UI so I can see what I’m doing but not have that annoying thing on the grade monitor.

The wand is really the “solo” mode as Alexis describes it for getting a handle on what each node might be contributing to the overall correction.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

[Sascha Haber] “Here is a (kinda shallow but understandable) article about some level talk.”

And also a bit misleading.because it talks about “compressing” the dynamic range into shallower value extents. It is really more of a case of defined limits. It does get worse if you are working in 8-bit, but 8-bit is not really suitable for working in HD from a fundamental standpoint.

I am really trying to wrap my head around this issue to try to come up with something a little more definitive — but talking about it is not straightforward in any way. Just yesterday, I tried moving a property between FCP and Media Composer in DNxHD and got completely different renditions, even though *all three* versions look exactly the same when decoded in Resolve.

Its infuriating.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

[Scott Clements] “When the dissolve finishes, Resolve shows the media the dissolve was transitioning into. The dissolve symbols are in the edit and colour pages,”

What shows up in the tool disclosure dialogue? ARe you absolutely sure the dissolve transitions have copied properly (assuming this is an imported timeline) and it has not somehow been mis-translated or corrupted? If that is the case, what happens if you replace it in the Resolve edit page?

And you are in the “Mixdown” mode?

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

If data transfer starts bogging down like this, I usually suspect a destination drive issue.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.