[Joseph Owens]

[Jon Dobson] “Unfortunately I’m doing this job on resolve lite on a macbook pro”

First thing I would suspect. GPU is intensive for retime — there might also be a source bitrate issue.

jPo

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

[Joseph Owens]

Yikes.

The MXFOP1A container is a Sony XDCam-centric option designed for XDCAMHD codecs, so I really doubt that DNX would be a viable choice. Choose the plain vanilla MXF for DNX or if you really need to deliver an OP1, then it is more likely that you should be choosing an XDCam422HD codec.

jPo

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

[Joseph Owens]

…Realizing this is a very quick demo of one of the FX applications… not all of what most users employ tracking data for is not necessarily corner pinning.

Window tracking, stabilization… ?

But very, very interesting.

jPo

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

[Joseph Owens]

Have never used a RedRocket card, ever since Apple COLOR started deBayering natively, and now routinely work with UHD RDC files at Quarter ResGood in Resolve with nVidia GPus — primary system is GTX480s in a CUBIX and the other system is a single Quadro4000 for UI, supported with an internal Titan with an external power supply. The only time it gets a bit clunky is when I have a lot of tracking, stabilization and NR (or Mist) applied. I don’t have a 4K display anyway, so not really a deal-breaker to work with the higher source resolutions, but overall, even regular HD RDCs don’t feel much different than ProResHQ.

jPo

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

[Joseph Owens]

[Eric Sternberger] “I choose the according settings in the deliver-tab.”

Can you furnish us with the exact details of how the export was configured?

jPo

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

[Joseph Owens]

[Jonathan LaPointe] “the Colorist has referred to a tool he calls the “Aperture Correction” tool. “
From the article:
The aperture correction in the foreground makes you focus more on the objects in the foreground.

There are three options inside the detail enhancement tool; blur, sharpen, and mist, which all have +/- values, that will either sharpen or blur, depending on where the fulcrum is and whether you are working inside or outside of a qualification area. Aperture Correction is getting to be a bit of a legacy word, because we are starting to slide toward post-depth-of-field, rather than setting an aperture-defined circle of confusion, related to exposure and emulsion speed. In the case of Prometheus, as dark as it is as discussed, it would start becoming a challenge to control focal depth, compounded by going to higher and higher aspect ratios. Obviously it is easier to blur an image than it is to convincingly sharpen it — my own preference would have been to shoot a scene with as high a T-stop as possible to get the deepest focus, then z-depth qualify the scene (using whatever options there might be, given the camera, which might include some 3D solutions, but software like Mocha can also solve for camera positional data from 2-D) and then actually blur instead of sharpen — which would more closely resemble the old “coring” function in electronic imaging.

Back in the early ’80s we most often referred to “sharpening” or “detail enhancement” as phony-focus.

jPo

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

[Joseph Owens]

[Sascha Engel] “I wonder if there is any option in DaVinci 10 to change the thumbnail image displayed in the Colour Tab”

Page 380.

To change the current thumbnail:
–> Move the pointer over a thumbnail, drag to the left or right to scrub through the clip, and
stop when you find a frame you want to use as the new thumbnail.

jPo

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

[Joseph Owens]

[Gaylen Nebeker] “Is there an option to add a matte with opacity to the output for dailies?”

Do you mean a letterbox?

jPo

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

[Joseph Owens]

Looks like you’ve got interlaced 2997 on a 24 fps timeline.

jPo

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

[Joseph Owens]

[jeremie galan] ” 1920×1080 cropped dailies for the editorial .”

So in effect really full frame 1920×1080 but filled vertically, allowing left and right to go off screen.
Try Project Settings: Output Scaling Preset/ Center crop with no resizing. That should keep the 1080 height and lop off the left and right…

Make sure you have the correct Delivery parameters specified, 1920×1080, etc., when you go to render. This may or may not affect any tracking or smoothing you might have in the project.

jPo

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