Joseph Owens
16
COW Coins
16
DaVinci Coins
Forum Replies Created
-
[William Carr] “what you mean by “transparency”.”
ProRes 4444 supports an alpha channel. It is a much much bigger file, and “enjoys” the distinction of being able to contain either Y’CbCr or RGBA coded media.
But the difference between ProRes 422 and ProRes422HQ is quite small; negligible quality benefits especially when you are pushing a much lower bandwidth codec into it. Its just a bigger bus, same number of travellers. More empty seats.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
-
[Emmet Reddy] “is it easy to learn and is the workflow between apps straight forward?”
If you have been using Apple COLOR, then you are some distance along, and the learning curve won’t be too steep. The round trip is quite a bit more robust than Apple COLOR ever was, and the big plus is that Resolve is pretty much NLE agnostic, and can work with XML, AAF, Quicktime and MXF fairly seamlessly.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
-
Peruse the Telestream MacCaption website for more info. Teletext is not the same as EIA 608/708 closed captions. You will have to re-encode your original closed caption files from 29.97 to 25 fps, and then find an application like MacCaption to imbed the caption stream into the exported video master file. I don’t think this works like a tape export. What you may end up doing is accompanying the program source file with a .scc, .cap or other file.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
-
Two things to consider. Can you navigate to the media directory within the Resolve browser, and when you arrive there, does it see any media? And if it doesn’t, do the source files have .mov, etc. suffixes?
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
-
[adam chesbrough] ” is motion tracking in the works?”
There is a motion tracker and stabilizer built in to the software presently, but the tracker is intended to direct color correction windows/shapes, but not necessarily as a plate compositing solution. You can export tracking data to a certain extent, to other clips — most of us do that to introduce frame weave for “hand held” treatments.
Most of your click-and-correct approach is probably achievable with creative groupings, and the slide-table display, if you really, really, really don’t want to look at a timeline. Were this a post-production, rather than a pre-grade, a C-sort might help, too.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
-
Pretty much the way we used to turn it off. Its a toggle.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
-
[Reuben Isaac] “So is there an advantage to using a round trip workflow or disadvantages/problems with my current one?”
Your grade is dependent on your “best light” up front, whereas most workflows that use a best light will either opt for another grade using the current media, or re-link back to the original, so that the finished timeline can be graded in context. This may not matter so much if a very tight match is not so necessary.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
-
There’s an auto-Ken-Burns effect in iPhoto…
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
-
Som apps don’t obey Quicktime rules, some default straight to Rec709, others you can set up for whatever colorspace you want to monitor in.
This really started being a bigtime issue when Apple COLOR was introduced, because it automatically switched into Rec709 (2.2) while all of FCP was optimized for graphics monitors — and relied on external Video I/O cards to fix the scaling issues for broadcast display. So what you played on the desktop (under Quicktime, roughly in sRGB 1.8) would not match what you were seeing displayed under broadcast rules. Close-ish… but either whoa whoa whoa way too dark, or the other way around… and then there is the issue of full scale 0-1024 10-bit vs linear video 64-940, which, when you mix those up are very hard to fix… because its not just of matter of fixing the black/gain, the gamma has been incorrectly mapped, as well, so there is no linear correspondence along the grey scale.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
-
[Steve Eisen] “Never use your system hard drive as your scratch disk”
This piece of excellent advice is actually a law and cannot be over-emphasized.
One other reason that you may get an error message of this type, is that FCP will often start estimating file size and trying to reconcile that against known resources. It would often cough, even when there was enough disk space, if you were doing a “Capture Now” — because the file management system really wouldn’t have a clue as to what you really needed… so it assumed you didn’t have enough.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.