Joseph Owens
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COW Coins
16
DaVinci Coins
Forum Replies Created
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[Kim Taylor] “f I lay out my edit with PNG sequences or animations”
It should work. Resolve will support imbedded alpha channels and I use png stills often.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Sascha Haber] “I can only say that the Element is the nicest <10.000 panel i used extensively in production.
If I would be on a super small budget I would only get the BK part and never again a Wave.”This is a fairly honest evaluation. A WAVE is a bit like just having the BK component of an Element set. Having both, my quibble is that the button layout is completely different between the two of them. There is a personal preference difference in that the Element has the ball-within-the-ring layout while the Wave is balls-over-rings. If you can play a piano or other two-handed musical instrument, the overall responsiveness of the integrated system can be more symbiotic with the grading application. Set up the overall sensitivity to your hand-eye coordination taste. I have a default setting of around “80” for the Element at the moment, which seems to move the colors around on the output screen (never look at the three-way panel) by about the amount that my hand moves (might be a trained-reflex response) but it feels right.
As far as menu navigation goes, everyone will have their own prejudices about access priority, and this is where the frustration sets in with no ability to evolve a preferred menu hierarchy. I would really like Primaries and Window menus right on top, but find myself constantly switching and using a blend of keyboard shortcuts and up/down/sideways A/B calls… wherever my controlling hands are closest to the relevant controls and what the call-up reflex is… and for my next trick I will be juggling a running chainsaw, a lit candle and a 10-pin bowling ball.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Gary Taylor] ” a few 12-core 2009 models that have had their firmware upgraded to 5.1. “
The hardware / OS mix is what will eventually make the 4,1 and 5,1 releases obsolete, which it seems Apple is determined to do. This break occurred with the 3,1 and older Macpros — which cannot deal with non-Mac Nvidia/PNY GPUs. The real crunch is with choice of OS. Mountain Lion in a 5,1 supported some non-flashed GPUs (very important for Resolve) up to the first round of TItan, but Titan Black required upgrade to Mavericks or Yosemite. The problem there is that those two OS releases limit the number of
non-ATI GPUs to two. For some reason, gee, I wonder what that could be.So it has become a damned-if-you-do or damned-if-you-don’t proposition. I’d love to attribute this to ignorance on the behalf of the hardware manufacturer, but they seem to be usually pretty deliberate about
things.jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Marius von Felbert] “What are the best Project and Outputsettings in Davinci Resolve to get the DPX without any loss of Data/Information?”
If you are looking to transcode to an image sequence, you are not going to actually improve the image — its just going to go into a larger container. I would be tempted to split the project output by assigning a layer priority to the differing resolutions and create two batches – one for the HD and one for the UHD — IF that is the approach that the facility/colorist would agree with.
I thought FCPX was a flip/directory switch to relink from proxies to original? At any rate, you should be able to export any number of EDL-type XML or AAF files that would be compatible with Baselight’s timeline import.
OTOH. Instead of consulting this forum, it would be far more focused to get the pro bono facility involved as to what would work best for them so as not to waste their time sorting out an “this should work” approach. I’d be surprised if Baselight wouldn’t actually be happier with the ProRes and RAW files, which might be a more appropriate grade source than baking out the dpx sequence. I know I might lean that way myself. Unless there is something else going on, a colorist will always want to get back to as close to the camera as possible.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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If only a theatrical audience or broadcast viewership could vote with buying tickets or some other mechanism, similar to the passengers getting on some kind of commercial service on which they might possibly perish if the operators were so completely intent on shortcutting the service.
If an editor (or pilot) is so strapped as to not be able to provide a calibrated monitor (capable aircraft) (and no external scope, working ones cost more) and so “eyeball” the whole process, no airline in the world would ever get to their destination. Yes, Cessnas can and do get some people from short hop point “A” to point “B”, but I wouldn’t try to establish an IFR commercial service with one. Its the same thing.
The short, sweet, simple, open-and-closed story regarding graphics displays is that they are not, and are not intended to be used as motion picture reference monitors. But no manufacturer is going to put a label on them that says ‘you can’t do this.’ Bad for sales. They will even hang a tag on the thing that says it is so-much percent of broadcast color space (when what is required is 100%) but the not-the-whole-story justification for even that is in reality just how close the corner values are to the extreme values of the tristimulus boundaries. What is going on inside the triangle is a whole other can of worms — and the average consumer-grade display simply cannot hack the overall grey-scale conformity required. At least not within the price point. That is the difference. White balance — simple. Gamma conformity? Within a few per cent. Black point — debatable. Grey scale neutrality overall the entire range — not achievable without an external LUT, and you may as well spend the money on a decent monitor as the investment it will take to achieve the work-around. Its that simple.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Andrew Franklin] “**I know media encoder has a preset for Avid MXF OP1a”
I was going to suggest Media Encoder, or even Apple Compressor would do a good job with a batch export. The OP1a MXF format is for transfer to XDCam disk, so it is really more like an “Element” stream file — which makes it opaque to almost everything but the Sony apps for scanning the PDW drives.
Proper 2:3 field cadencing for SMPTE-approved 23.98 -> 29.97 must be interlaced. You might have to look more toward a 60P-type codec if you are trying to achieve a type of progressive scan — but generating the redundant fields is unavoidable. Also, you will lose corresponding frame code no matter what… HR:MIN:SEC will be the same, but 0-23 will change to 0-29 for obvious reasons.
The other application that should be able to do this conversion is Resolve itself, in its “dailies” workflow, with the key point being to preserve the original clip metadata. You would even be able to generate a new AAF for import to Media Composer.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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One approach might be to revise a duplicate timeline, with the new material on a higher priority layer, V2 or above, depending on what your current structure looks like.
Pull that into Resolve and grade away on the new material. Or, create another sequence/timeline and copy/paste the new material. The higher-layer approach would lend itself to simply shutting off the lower layers for the updated render pass, would then be round-tripped back into Premiere. Depending on whether the overlay is re-edited into the main timeline in Resolve or not, you are either done at that point or reserving the updates until you are back in the NLE.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Andrew Franklin] “any small imperfections.”
Properly interlaced, field-cadenced conversion from 23.98P to i29.97 is a particular annoyance for me, as well — FCP7 doesn’t do it at all, it always exports 2:2:2:4 which is fairly jittery. Also of concern for me is the originating codec — some non-intra formats don’t really lend themselves particularly well for FRC — I continue to see material on-air that looks like it was shot at 12 fps. Usually DSLR or GoPro-like origination. Don’t know, but also possibly attributable to a really bad conversion.
The key to getting a good conversion is to make sure that the 2:3 field generation is invoked, and the output is interlaced. This can be extremely time-consuming from a render standpoint for some applications. I have seen Apple Compressor take upwards of 15 hours for a 48 minute show. It does conform with SMPTE A-frame dominance, though, which is remarkable, in a way.
Why you need to Frame Rate Convert is something I am curious about. Is it to integrate the 23.98P material into a 2997i timeline? Otherwise, I might be tempted to leave it alone. The conversion will take care of some future challenges in the workflow, but that really depends on what the ratio of different frame rates might be in the overall project.
The difference between DNx and ProRes in MXF wrappers shouldn’t be all that relevant.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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I’d be curious to know what happens if you turn automatic keyframing “on” in the new clip before attempting to (it suggests) carry the track forward from where it left off (or where Resolve thinks it did) in the previous clip.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Evan Kultangwatana] “using the same exact render settings, but getting different results depending on whether I’m doing a full render or individual clip render.”
I can see where this might happen if there was some other filter applied to the clip that would affect its output behaviour with respect to something like transparency or some other layer-related hierarchy. Clip renders would tend to ignore transparency, for example, and re-apply that in the NLE upon round-trip re-entry, as opposed to single clip, which assumes that the output is basically a final pass and observes factors like composite assignment.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.