Joseph Owens
16
COW Coins
16
DaVinci Coins
Forum Replies Created
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There are softness Inside/Outside sliders in the dialog box to the right of the shape selector. Drag them to some positive factor and you will see that each vertex also has its own inside/outside adjustment.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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Thank god he finally got it in the end. “Experts” can be so obtuse at times. Rigid definitions, orthodox thinking process. Probably “believes” many things.
The truth is, with a little out of the box thinking, he could’ve actualized the paradigm in a creativity-enabled overall encompassment. Saying things like “geometry” is also patronizing and elitist — I’m surprised he wasn’t immediately asked either to resign or issue a statement of regret. Shocking, really.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Andy Winter] “sometimes by simply viewing
and hopping from clip to clip resolve just quits without an error-code.”Yep. Been tying to track this down for a couple of years now. Mostly happens if I rewind/play in rapid succession from the Element controller. I think the commands crowd the application’s ability to decide what to display and it croaks. i’ve learned to Parry/Lunge a little slower — its kind of like penetrating the force-field around a Sardaukar storm trooper.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Sam Aswat] “What else do I need to do to get this setup working?”
https://www.blackmagicdesign.com/support
Select your OS, Product Series (Resolve) and Product (Resolve software)
Download the Configuration Guide.Also consult the DaVinci Basics andConfiguration forum…
Wait! What? There’s an entire forum devoted to configuration issues?
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Marc Wielage] “Imagine a scene with five or six people in the frame, and each person is from a different take! It’s gonna happen (if it hasn’t already). Next, they’ll want that in 3D, with a Steadicam shot, rack-focusing to each actor all over the room…”
I’m imagining billing that out. ka-ching. It is a VFX issue, but as colorists, we are or should be either hand-in-glove with that or really start considering grade to be a kind of VFX.
I do a certain amount of this and for the most part the cinematographer/dP on this particular series is religious to the point of fanatical with his lighting and scene-match. So the seam is almost always invisible just treating them with the same grade. If there is a shadow mismatch (rare), then setting up a split with power window alpha-out to reveal a lower layer will show that and then a little shade-off is relatively painless. I’ve done whole shows with the same actors playing their doppelganger-nemeses like this. Show 208 of Tiny Plastic Men is an example. https://tinyplasticmen.com/
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Margus Voll] “I would keep my compositing stuff out of Resolve”
Well, anything that you might be doing for real. However, it is really an advantage to have the ability to stack up an effect and grade the plates in context. Just don’t screw up the green screens.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Jonathan Bigler] “But is it possible to do that using DaVinci’s tracker? Can I track an animated graphic so it follows the camera moves? I don’t manage…”
Not really intended to be a compositing package… but there is a kind of cheat that you might try with the Stabilizer. Save the stabilizer track for that scene, picking your key reference point and apply that to your foreground plate. The stabilizer really is meant to smooth shots, but it is a way to create a record of motion within the scene. Most people use it to add “weave”.
It’s a bit like using the stabilizer in a compositing application like SHAKE instead of its tracking node.
Personally, I like the MochaPro planar tracking and wish that data could be used.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Christoph Tilley] “It’s also quite strange that as soon as any GTX Titan is plugged into the Cubix, System Profiler show „There was an error while gathering PCI card information“ in the PCI cards tab.”
No, that’s normal behaviour. I think it has something to do with the OS not being able to make sense of what is attached to the PCIe buss other than to identify card types in the Graphics and Displays dialog.
I would not touch 10.9 with a ten foot pole. Seems to be more iOS than ever, and its real advantage (at least to Apple) is to make the store more available.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Rich Rubasch] “We need an organization (SMTPE?) to come up with standards for file deliveries…..how much slate, bars, black etc. Everyone wants something different. It’s going to get worse with 4k. Is there even a 4k tape delverable?”
No, there is no “4K” tape recording format. HDCamSR tapped out in its later versions at 2048. My SRW-5500 ‘only’ does 1920×1080 (and capable of 720P, but never used it for that).
But. True enough. I did respond with some more Resolve-centric points on this thread in the DaVinci Resolve forum.
SMPTE does have recommendations for how channels should be assigned, order of program elements… they’re good for legal documents and quoting official-sounding references like SMPTE 320M-B. Some of these things, no one knows what they are, most are just plain ignored, and most of them you have no control over, anyway.
Like, are you sure you are supplying time code at SMPTE 12M standard, and your video conforms with 274M?
I feel the “deliverable” pain. I have a stack of binders from a couple of dozen broadcasters — sometimes even from subdivisions of that broadcaster where the deliverables have their own sub-variants. The worst part of these is usually audio channel assignment, not even basic leader/slate requirements. Really, who even cares about that stuff any more? Its probably not even digitized at the pickup point.
I do agree that things are going to get even worse, plus, the expectation is that most of us will have to start paying for extremely fat pipes to upload all this stuff. Not to mention the issues that we are already encountering with portions of the file disappearing.. like, you know… the captions and stuff. I see the final encoding of all the VANC data, like captions, plus Dolby E, &tc., getting beyond the control of those people who, really, just wanted to upload their show. And textless elements, and separate titles, and every audio stem known to man, in a variety of frame rates, resolutions, bitrates…
Tape was easy, and, with an insert-edit… revisable. Now you have to re-compress and re-upload the whole shebang, even if you wanted to change one pixel. So is all-or-nothing really such a great idea– because that is what we have with file-based anything no matter what format it is.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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Depending on the camera format (noise/quantizing error/bit depth) — push like crazy. It does look like its about 1 or 2 stops under for starters, so banding is likely going to become a boundary condition for what is possible.
Maybe this will start falling into a stylization, but if you want a white limbo, you will have to crush the background. I doubt that you will be able to pull a clean secondary qualification and any kind of power window is going to involve a ton of roto/tracking. I would try a power curve that flattens out the set corners, combined with both a luminance only (or +chrominance limited if flesh tones go dirty) and a loose, soft power window for cleanup that mostly emulates a big follow-spot. Primary correction node should “open up the lens” and maybe even exaggerate color a bit, so that you can take it away later if you should so decide.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.