Joseph Owens
16
COW Coins
16
DaVinci Coins
Forum Replies Created
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I find it very difficult to export out-of-gamut values from Resolve.
Because I do send a lot of material back and forth between FCP, Resolve, and Symphony, the RGB conflicts are a little more familiar. Almost 100% of the time, the values jump because the full-scale RGB and linear video 709 scaling gets confused. Particularly hateful when a VFX house exports things in Animation.mov or ProRes4444 because its “better”… and what gets screwed up is the image values get very distorted, and not in a linear way (gamma is not correctly computed). This is also why your broadcast legal solution is not the correct choice as a fix.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Tina Hedegaard] “Resolve cannot manage spanned clips, Resolve sees each clip as individuals, but the clips that indeed are spanned has a lot of errors – glitches, mpeg-errors, black gaps”
The NLEs handle the media positioning with a different engine than Resolve, which has been wrestling with frame counting for a long time. It was the same with Final Touch/ Apple COLOR — it is a little bit related to mixed frame rates on a single time line.
I could not say for sure that what is going on is confusion about what the base frame rate is and how a trim-in is computed, but most of these third-party applications make assumptions about the media, and then start predicting what frame to use based on absolute frame counts, so inevitably there will be problems if there is a conflict — and I can see where a Long-GOP, spanned system might land on something other than an intra-frame most of the time, with the result being something displayed other than a recognizable image, because it is landing on a bidirectional or predictive frame, when it really needs to see a whole (intra) frame to start rebuilding the GOP. If the ibp cadence is broken on a spanned clip, errors are a matter of “when”, not “if”.
In the interim, what we have been doing for the last 8 years or so, is Media-Managing (Consolidating) the locked cut to an intra format like ProRes or DnXHD that ALWAYS WORKS. The extremely slight sacrifice of moving one generation away from the original source media is negligible. More so these days than in 2005 for sure.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Jonathann Launer] “I am having a terrible time trying to import XDCAM footage”
Another option is to spend a few bucks and acquire the Calibrated{Q} MXF Import application. It equips Quicktime to read MXF wrapped files directly. You can edit your original media inside FCP and also browse XDCam disks, and its also something that online editors will find valuable if they are tasked with delivering XDCAm masters (closed captioned) to broadcasters.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Dan Moran] ” and hold when drawing the shape to add the spline”
I think they also appear as B-splines when you add points to a completed shape.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Tina Hedegaard] ” within Resolve?”
Depends on how you are encountering this issue. I have not attempted to edit a project in Resolve, and it seems like a somewhat dubious proposition, at least for now. If you are importing an XML and Resolve isn’t seeing the whole spanned take, (which also happens in AAF imports) I did have some success with importing all the spanned files into the Media browser, as discrete files. It worked for a C300 project, which was a miracle since some takes consisted of 17-18 bridged clips.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Juan Salvo] “How about just a keyboard shortcut editor instead?”
Or a panel mapper, but as it is, I am getting more apprehensive by the hour about how fragile the third-party panel support actually is.
And as far as an intermediate-price BMD control panel — not in the cards.
jpo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Charlie Austin] “In a weird way, cutting mostly in X has made me faster in legacy. 😉 I find myself using shortcuts I didn’t really use before I “discovered” them in X. Despite the popular wisdom, and setting aside magnetism, X and 7 work in very similar ways. “
Sitting beside a very experienced FCP trainer at the Supermeet, lo these many years gone, I was treated to pretty much a running commentary on how all these new “features” of X were just simplifications of techniques that already existed in Legacy. To me, the “trackless” layout was essentially a continuously “re-nested” sequence, that was continuously shoving decisions behind the curtain, where the Might Oz was huffing and puffing to keep track of where all that stuff was being positioned, assigning arbitrary hierarchies (roles?) that the foreground editor at the user interface neither cared for, nor worried about.
You really only have to unpack an X project in Resolve, which tries to unstack all the decisions that are laying latent to realize just how pell-mell the behind-the-scenes structure is being constructed. Like Lucy stuffing too many pies coming down the assembly line into not enough boxes.
At the end of the presentation, I loved his comment… “have they not read their own manual?”
Probably not, in actual fact — but then again they are building these products for people who are notoriously persistent in their deliberate ignore-ance of accompanying literature.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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Without really knowing what is going on in your elaborate node tree, it is possible you are using a composite additive combiner that is doubling up the image.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Oliver Eid] “”Output HD 23.98psf at HD59.94p” “
This is still weird vocabulary, or am I missing something else crucial?
For 2:3 cadence to be valid for broadcast, with the exception of ABC and its affiliates, you must be working with an interlaced codec with field dominance. Otherwise you are simply working in 59.94 progressive. For ABC, of course, the standard was established with 720P60; it works with Advanced Pulldown (which is 2:3:3:2), it works with so-called 2:3 SMPTE pulldown as “progressive” frames, which really just corresponds to 59.94 interlaced fields. To some extent, six of one, a half-a-case of the other. But the A-B-C-D field relationship (dominance) doesn’t get properly established, if you are working back to the old RS-170A SD legacy-compatibility, which some broadcasters insist on.
Coming from 23.98 source media, though, the necessity of seeing 29.97i escapes me. Is there some issue of not being able to compute a drop-frame running length accurately? And if this is for broadcast, (no other reason to work in 2997) a graphics monitor is a still- questionable choice, since there are very, very few solid-state displays that don’t just convert everything back to progressive. And that will introduce a very messy can of worms, if you need this to pass a QA somewhere.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[John Reis] “1.5 pixel ratio. Sigh. So far the round trip back to premiere has not been successful. Everything is stretched.”
Sounds like Resolve is doing what it is supposed to do — consolidate the aspect ratio and resolutions, but the 1.5 non-square pixel ratio, depending on the output codec, appears to be the sticking point. If “everything is stretched”, you will need to check where the “non-square” flag is set. Is it in Premiere? Resolve generally prefers to square up the pixels.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.