Joseph Owens
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COW Coins
16
DaVinci Coins
Forum Replies Created
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[Kevin Cannon] “I’m gonna throw the whole place a party”
A virtual party. I thought that was what this is.
Yeah, currently working a project FCP7-originated comprising 90% 23.98 footage cut on a 1440×1080 2997 NDF timeline with XDCam EX 1080i60 footage sprinkled in and the usual time remaps — predominantly -100% reverses. For some reason the editor chose “Apple Intermediate Codec” as the sequence setting even though the vast majority of the media is ProRes 1920×1080. You might gather that the first day’s entire budget was blown matching the timeline to the chase clip. And it is apparently my issue.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Sascha Haber] “2.You encountered another not supported video format”
Or a questionable implementation of a format. I do see “interlacing” sometimes on media that is supposedly progressive, but in fact is PsF, and the segmentation is wrong.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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enabled interlacing on export?
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Stepan Ko] “The thing is i’m not being asked for anything apart from prores 422 right now, but it just makes me slightly worried, because i’m not sure if the client is expecting to get a file that can just be submitted to the broadcaster”
It sounds like it may be prepped elsewhere — what the ProRes may be fulfilling is as a so-called “mezzanine” file that is essentially a master master from which versions are drawn for repurposing as streaming files, various distribution paths with commercial breaks, seamless, etc.
This spring I wound up with 27 timelines for a project with universal, international and domestic distribution. Sort of almost every possible permutation. Sometimes different color bars, duration and position, slates, some wanted countdown, others wanted black… and on top of that I was cross-converting captions and subtitles.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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LIke we’ve got a mutual fan club thing going.
The RGB mixer is a fun tool — don’t just settle for sat = 0%. Uncheck preserve luminance levels and then re-mix the RGB contributions. Real Black&White stock does not react to the color world the same way that RGB or CyMk emulsions do. It was designed to make flesh tones pop and its why the golden age actresses glow. Edith Head was famous for those pink sunglasses, but they were there so she could get a vague idea of what her wardrobe would like like monochromatically.
Do not overlook re-directed lighting. The classic Dashiel Hammet stories feature high-key and backlit edges, with mysterious cookies (notably half-lit shadows through venetian blinds, which are also designed to emphasize those dangerous curves. “Charlie bars” can be achieved with judicious power windows that direct the audience to various actors’ features, whether it is her “charlies”, I’m just relating the history and the nomenclature… or somebody’s plotting eyes.
Film Noir at its best is a thin, tight surface over raw naked emotions. Go rent “Out of the Past” and then watch “Against All Odds.”
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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Each broadcaster and distributor will have its own deliverable spec sheet. I have a stack of them, some of which run to book-length. ZDF’s Guideline gets to 78 pages.
There are really three frame bases for deliverables: Universal (23.98), International (50i) and Domestic North American (59.94i) with some variations.
Check with the broadcasters what the video level tolerance is. Usually Resolve does take care of this, but if you add anything in an NLE such as graphics, all bets are off.
Generally, broadcasters want “0” VU, which corresponds to -20dBm on the FCP timeline. Simkplay cranking everything down is not a good solution, as it destroys the dynamic range which your mix might have had. A professional mixer will try to keep as much SPL as possible and then compress for peaks.
The FCC fines overages.If you are asked for MXF, then Quicktime is out. Sometimes you can wrap Apple codecs in MXF, but 10 times out of 10 they will either want DnXHD or XDCam VBR 50MB/s. It will be in their spec sheet.
Sounds like you are being asked for an XML metadata file.
Fill out as much as you can — if you miss something like the Aspect Ratio code, then there is a risk that your project will not get to air the way you want it to.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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Are you rendering it or simply allowing the exported XML to re-link to original source?
That would answer your question. Rendering it takes it through the transform if it needs to converted or rescaled into linear 709/RGB.jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[John Carrithers] “I shot at 29.97 and conformed in premiere to 23.976 using the interpret footage option “
I assume your source footage is still 29.97, probably because whatever Premiere interprets it as won’t mean that Resolve will see it the same way — especially if it is a kind of filter that is not supported by the XML import. Out of curiousity, are you converting the 2997 clip to play 1:1 in real time as if it were shot at 23.98, or are you slowing the 2997 footage so that it plays at 80%? IOW, playing the thirty frames at 24 frames per second for a “slo-ish motion?”
If you want it to be 23.98, then render the clips the way Premiere is presenting them to you and reimbed them so that Resolve sees the same 29.97 —> 23.98 conversion and the color app will see the media as proper 23.98 on the 23.98 timeline. This is in reality the only bulletproof workflow for differing frame rates.
The reason for the incorrect pickup points is the same as it has always been. All media embedded in the Media Pool is assumed to have the same frame rate (the project setting) if you don’t specifically set up a mixed-frame-rate project. The application simply counts frames at the project rate to sort out where the In/Out points are.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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Why is this not on the DaVinci Basics and Configuration forum or does no one go there anymore?
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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Were the stills exported with the project? I’m assuming you are talking about reference stills, and not media on the timeline.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.