[Joseph Owens]

Reel number?

jPo

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

[Joseph Owens]

There are some XML editors like CineCanvas that will help you re-package the DCP integrating your subtitle text stream.

But it seems like its an authoring issue outside the scope of the Resolve plugin.

jPo

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

[Joseph Owens]

What’s best *for you*. How big do you want your master files to be, and how much information do you need to create the next deliverable?

Building on what else has been written, the most common, highest-quality per Gigabyte Quicktime wrappers are ProRes (422, 422(HQ), or ProRes 4444) or the AVID-centric DnX codecs. About a Gig per minute in 1080. There are higher-quality options, “Uncompressed”, and RGB sequential files in dpx tga and tiff format. These can get quite large (10x or more than the aforementioned), but offer different scaling strategies, in case you are considering film-out or DCI/DCP mastering. ProRes is by far the most common QT codec in general use on the Apple platform, but it is still a little bit Apple-centric, and for example may not be a good choice for Linux-based systems.

Unfortunately, the “democratization”, or perhaps more accurately “popularization” of commodity-based production approaches has been racing to the bottom with compromise after compromise while pretending to boost quality. The Long-GOP codecs like H264 may just be the least worst of this approach, delivering buzz-numbers like resolution size and data through-put, but seriously eroding any benefits in post-production by off-loading the responsibility to reconstruct the media stream with massive demands on GPU processing plus hollowing-out the overall robustness of the image values. I am talking about severely limited ability to carry over any color correction or multi-generational FX work.

H264 and other very low bitrate codecs should be considered “terminal” choices — great for distribution, streaming… comparatively speaking the “VHS” of the modern age. I don’t think anyone would ever have considered creating their masters in that format, and nothing has changed in that equation.

jPo

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

[Joseph Owens]

Try posting on the Resolve basics and configuration forum?

jPo

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

[Joseph Owens]

[Matthew Rogers] “how I can keyframe a power window on one node without it messing up a key framed power window on another node? Is this even possible?”

Yes it is… there is a disclosure arrow associated with each node in the lower right hand side keyframe window.
Right-Click will bring up a dialogue that enables you to add keyframes on the parameter you desire. You can lift, drag, delete them… static, dynamic, change state…

jPo

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

[Joseph Owens]

Not that Media Mangler is all that great to start with…

You can export the project under File… Export Project and include reference stills, etc. but creating a Media folder isn’t part of that operation, and not particularly useful, unless you are starting a project with a “dailies” pass prior to an edit lock. There are more efficient ways to consolidate source media given that Resolve is primarily designed to access folders wherever it is directed to draw source media, and then render color-corrected images to a target directory. There is a kind of File Management protocol in its export/delivery interface, but this is not the same as either a Final Cut Media Manage or an AVID Consolidate.

In the case of the dailies workflow… I can’t see the advantage of exporting the project at all, since the grades associated with the source media will be irrelevant to the rendered files — and if you are anticipating a re-conform, then all you need is a ColorTrace, and the media had better be where you left it.

jPo

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

[Joseph Owens]

[jake blackstone] “. Your basic grade is incorrect. “

Kind of a brutal assessment, but knocking out a lot of the day spill with a primary correction would likely go a long way to creating more of a separation between the two blue tones.

If you do eventually wind up having to roto, I’d suggest taking advantage of the new R10 ability to pile up multiple windows on the same node. A shape for torso, couple of shapes for arms, head… you are essentially making a marionette and pulling the strings by tracking them into motion.
How its done in Mocha.

jPo

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

[Joseph Owens]

[Juan Salvo] “Either by partnering with a trusted 3rd party, or specking equipment we know and can trust, or sending a mobile review station.
“

It is not the same as reviewing an audio mix on “crap” Auratones, the way many engineers used to do to simulate a “worst case” scenario. We can do that, however, by making an AppleTV-compatible H264 and watching it on an iPad.

I am reminded of a “Wizard of ID” color cartoon from the early ’80s where Rodney and the King are watching a battle (from a more=than-safe distance, of course). The King asks how things are going. Rodney comments on how the black specs seem to be making progress against the blue specks… so… its pretty much going ‘according to the specks.’

jPo

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

[Joseph Owens]

“Track Grade” is an Uber-correction/LUT, so I have always assumed it was an exit correction.

Would it make sense to apply some kind of destructive restrictions in a non-visible node while you were grading clips? An overall log conversion or LUT should not impair your ability to start with what are the native values associated with an individual clip.

jPo

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

[Joseph Owens]

[William Edwards] “I wanted to find out what people are using;”

Current for both stations here — a couple of 8 year-old Apple Cinema Displays. Paid for. Long ago.
The older one has some significant backlight issues… big blotches around the edge of screen. So I have some cheapy Samsungs floating around in case that one croaks at some inopportune moment. Meanwhile I use one of them for GranTurismo 6… and reviewing BluRay burns… on my PS3…. yeah, that’s why I have one of those. That’s my story.

My third station, at a shared-space location, owner there insisted on a couple of LaCie something-or-others to maintain a decor directive. As far as the GUI is concerned, all I see is a lot of numbers and words, okay, some thumbnails, but almost totally irrelevant in the sense of aesthetics. And the fact that their edit suite is one-make, all LaCie, all the monitors look the same, and on that issue –> Flanders for grade, the same as at my home-base studio.

At first I had to wonder about “monitor recommendations”… because that topic is just a minefield, but you seem to be more interested in a graphic display, so really, anything that isn’t going to detract too much from your real reference monitor — I’d be careful with size, because with it comes the baggage of eye-strain, ergonomics and the overall contribution to poisoning your grade environment with a ton of wrong-temperature ambient light.

jPo

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