Joseph Owens
16
COW Coins
16
DaVinci Coins
Forum Replies Created
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[Kenneth Maultsby] ” I would like the final output to be HD to distribute to friends who were on the trip with us.”
May as well just down-scale the UHD to HD from the get-go if your intended output is 108029.97.
Does the camcorder record interlaced or progressive @29.97? Smartphone will be (?!) progressive, and may not be Constant Frame Rate or may even be 30.000P.
jPo, CSI
\”I always pass on free advice — its never of any use to me\” Oscar Wilde.
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[Terence Christopher] “a loss of sync when compared with the original”
This is starting to remind me of a general problem with some consumer-level generated clips, mobile devices the leading culprit. Many of these create media with a variable frame rate as a file-size reduction strategy. These play back fine, when the Player software can deal with how the frame sequence relates to real-time synch. It would be like punching a sprocket hole only in the film strip where it would be needed to advance to the next frame. Otherewise, hold onto the frame in the gate, sort of thing. Not actually what happens.
This works great with iMovie, etc., but most NLEs, Resolve included, really want intra-frame coding and depend on a constant frame rate, and will treat every frame as sequential and will play them at the project rate until otherwise notified. I hit this for the first time dealing with some phone footage my daughter wanted me to process for her… about ten years ago… Re-encoding it is the only way to re-flag the frame rate, and it would really help if it was a true intra codec with discrete frames, not another Long-GOP.
jPO, CSI
\”I always pass on free advice — its never of any use to me\” Oscar Wilde.
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[Glenn Sakatch] “You wouldn’t want to add the stereo mix into your 6 channels of 5.1 mix.”
Agreed, that would be a bad thing.
You do also have other options, provided that this is not a *broadcast*-type deliverable (where the individual channels would likely want to be delivered separately, although you would need to define the stereo components, L+R as a stereo pair so they would have that phase relationship.
There is a possibility of exporting essentially two tracks — one interleaved surround, and one stereo. It can make life complicated for successive unpacking, but for interpretive players, the track assignments within each delivery channel actually gets easier, because the flags will be there identifying L,R,C,Lfe,Ls,Rs so they will be correctly bussed to monitor channels. Gets easier to export multiple deliverables where the channel hierarchy is different, example C,L,R,Ls,Rs,Lfe would still be fanned out correctly even with the SMPTE assignment in the mezzanine.
It just takes everybody being on the same page… as if that would ever happen, but….
jPo, CSI
\”I always pass on free advice — its never of any use to me\” Oscar Wilde.
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[Neil Wieteska] “works as expected with the non nested 4500 x 3000 clips.”
If you open the compound clip in its own timeline, “Open in timeline” you will find that the resizing is probably set to something other than the Project Settings. This is the only way I know of to drill down to the Inspector Settings for a nested element.
jPo, CSI
\”I always pass on free advice — its never of any use to me\” Oscar Wilde.
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If it is a ripped DVD, then you likely have 720×480 and as likely also to have non-square pixels. Was the DVD formatted for 4×3 or anamorphic 16×9?
Scaling should not be ambiguous across the application. As it is, though, geometry is prone to be affected by about two dozen factors even within Resolve: Input sizing, node sizing, project settings, dynamic zooms, inspector settings, pixel squareness… it goes on and on.
jPO, CSI
\”I always pass on free advice — its never of any use to me\” Oscar Wilde.
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Why wouldn’t one of these approaches work:
Flip the linear/full range scaling in Clip Attributes or
change the Input Transform under ACES if this is an ACES-managed EXR?LUTs are not Transforms, and if it is a range issue, then the mapping will not happily transform between colorspaces.
jPo, CSI
\”I always pass on free advice — its never of any use to me\” Oscar Wilde.
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I’m running a Studio Resolve 15 on my Silver-Tower MacPro 5,1 mid-2010, but almost the only original components are the power supply and mother board.
It’s more like, what’s the oldest mac that will run the current macOS and support the newest GPUs and how much memory can you stuff in it, and do you really need Thunderbolt/ USB3.0?
jPO, CSI
\”I always pass on free advice — its never of any use to me\” Oscar Wilde.
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[Keith Sanborn] “ACES cct color science, is basically a kind of higher level language capable of describing many, all, or most color spaces and can act to interpret them,”
You are sort of turning the boat around in the right direction, but not really. The Academy Color Encoding System is a defined framework that offers a universal basis for describing any current or future media encoding format. How you choose to display or encode the media for release is left to the distributor to determine. It is not a language per se but an independent playing field. As a Sports metaphor, you could play soccer, football, baseball, motor racing, polo, yacht regattas, or unlimited pylon air racing in this particular arena. Just tell the stadium manager how you want the seating to be arranged.
For colorgrade, the “cct” version inserts a “toe” behaviour that biases the media response toward a filmic “dark” response that fitgs better with human expectations. There is also a “cg” version that visual effects finds usual.
Chatty, but a reasonable start for more reading: https://wolfcrow.com/what-is-aces-academy-color-encoding-system/
plus more text available on the web than a human can possibly read in a lifetime.
jPO, CSI
\”I always pass on free advice — its never of any use to me\” Oscar Wilde.
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[Keith Sanborn] “In practical terms, does that mean tick the “Use Display Preferences” box in the preferences in Resolve?
And set my monitor to its calibrated Rec. 709 color space?”No, this has nothing to do with your Display Preferences, Mac(?) color management, LUTs or other General Preferences ettings.
In Color Management, you would invoke ACES cct color science and then you would see the IDT/ODT preferences options light up. Within those menus, you can set up a default Input Transform for your media (and can change it on a source-clip basis if you have a mix of encoded material) and then your Output Transform — that is where you match the color value placements to agree with your intended output / display. This is basically how you create a more or less Universal Master that is eligible for export in a number of colorspaces. That is the whole intent of ACES color management beyond unifying a common framework that can contain any current and future value placement.
ACES is a kind of large black box that you put your media into, then transformed according to defined parameters to sit in that Universal Space. The ODT’s are a way of looking at it through different portholes (different colorspaces; 709, P3, &c.) In your case, shovel in your source data, identify it for the appropriate ACES interpretation, and then decide which *lens* you want to look at it with. In your case, 709, because that is what your judgement monitor is designed and hopefully characterized for.
jPo, CSI
\”I always pass on free advice — its never of any use to me\” Oscar Wilde.
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[Marc Wielage] “Spend the money”
Interesting thing happened last autumn after Black Magic released the Studio version with DCP authoring included. Fraunhofer easyDCP had to respond. Of course they were the company that BMD had partnered with to roll-in a licensed DCP presence. At first all I really needed was the Player, which actually cost more than Resolve Studio, because I was using CineAsset and Qubemaster; which got mangled with Dolby acquisitions, but that is another story.
Surprise, Christmas comes early — no matter what license a current Support subscriber owned – you got the full easyDCP export package including encryption and KDM generation, which is gold standard. Over the years, I have almost recovered from the screwing-over I got from Silicon Color FinalTouch2K when they sold out to Apple with the subsequent free availability of Apple COLOR (same application, but XML finally worked). This is the result of hanging in with financial faith in licensed assets. You have to think of it as a partnership and investment. Otherwise you would be reprising Hamlet’s soliloquy. Slings and Arrows, &c.
jPo, CSI
\”I always pass on free advice — its never of any use to me\” Oscar Wilde.