[Joseph Owens]

[Itai Bachar] “Just append to the last node.”

That would be the one.

You will have a “master” clip in which you work out the wash tint… save that, buffer it somewhere to erase everything else but that specific node and then you can append it all over the place.

Most of the time however, that one treatment won’t be appropriate in all cases, so I like to use the display node tree dialogue and drag and drop the tint into the correction by hand in case there is a hierarchy in the grade flow that the tint might interfere with.

jPo

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

[Joseph Owens]

I have one running natively in a MacPro 5,1 under OS 10.8.4, but it does require MORE POWER… especially if you are also running something else as the primary GPU for User Interface that requires supplemental energy. There won’t be enough outputs on the motherboard to run both, and you will be stealing hard drive supplies. So there is a Seasonic power supply sitting on top of my MacPro with leads running through an open PCIe slot… [insert clip of Dr. Frankenstein screaming “It’s ALIVE!!!!!” here ]

and needed to figure out “the paper clip” trick to get the external power supply to light up.

jPo

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

[Joseph Owens]

Here’s a URL that can be really handy:

https://software.blackmagicdesign.com/DaVinciResolve/Manual/Resolve_9_Manual_2013-05-06.pdf

Page 226

Creating a Timeline With Handles
If you need to render media with handles before exporting a timeline to another application, you can create a duplicate version of a graded timeline (or of the Master timeline) in the Conform page first. A timeline with handles is useful if you’re recording a timeline to tape and you need pre-roll time.
To create a timeline with handles:
1. Open the Conform page and select any timeline, or the Master timeline, you want to duplicate into a timeline with handles.
2. Do one of the following:
> Choose File > New Timeline With Handles.
> Right-click the Master timeline or any other timeline in the Timelines list and choose “Create New Timeline With Handles.”
The Timeline with Handles Setup dialog appears.
Handles window to define handle length and content

3. Adjust the following settings:
> Pre Handle Value (Frames) field: The number of frames to add before the In point of the clip.
Type a number in the field, or use the up/down arrows to adjust the value a frame at a time.
> Post Handle Value (Frames) field: The number of frames to add after the Out point of the clip. Type a number in the field, or use the up/down arrows to adjust the value a frame at a time.
> Source Mode checkbox: Sorts the clips in the new timeline in ascending order, according to source timecode.
> Force Black Handles checkbox: For clips that lack extra media at the head or tail, turning on this checkbox renders black instead, creating handles where previously there were none.
4. When you’re finished, click OK, and when a Conform Settings dialog appears, verify the settings you selected and click OK a second time.
5. If you want, type a custom name for the new timeline in the Timeline Name dialog that appears, and click OK. By default, the new name is that of the previous timeline with “(Handles)” appended to it.
A new timeline is created, with clips that are longer to reflect the handles that were added.
Keep in mind that timelines with handles have a completely different timing then the original timeline, and are not meant to be used, played, or exported in place of the originally graded timeline. Timelines with handles are only meant to be used to output to tape with handles, or to render media with handles in a different way, for example, to add handles that you can use to extend motion tracking that’s being applied to one or more windows. To export an EDL or XML file, select the originally graded timeline first.
Note: If you simply want to render Media with handles, you can use the “Add x Handles” setting in the Output options of the Render settings when rendering your program in the Deliver page.

If you really want to have Blackmagic *fix* this *issue*, can you confirm that it doesn’t work, first?

jPo

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

[Joseph Owens]

[Gary Huff] “some people are gravely offended by these kinds of images…”

Quoting “Salmon Fishing in the Yemen”…
its very difficult to offend someone who really has Asperger’s…

jPo

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

[Joseph Owens]

[Harry Pallenberg] “nice”

Will Apple then be releasing its own brand of coffee to compete with Starbucks?

Your “Java” in the morning, via a Thunderbolt port.

jPo

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

[Joseph Owens]

However, if you can find Grant Petty’s statement (search the Resolve forum on this site), you will find that apparently Blackmagic has already been testing the device. They seem to be departing from strict CUDA processing and opening up to more OpenCL/GL/oo-ee, oo-ah-ah walla walla bing bang processing, so what happens over the next couple of months leading to a physical release only the witch doctor knows.

jPo

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

[Joseph Owens]

[Eugene Lehnert] “I am downloaded the new update at the moment to see if this improves the problem. Specifically 9.1.4”

That probably won’t help, and it would be surprising if this wasn’t fixed until Resolve Ten. At the current release, the application isn’t a full-on compositing/edit/online solution, and more of a proxy-preview.

jPo

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

[Joseph Owens]

[Nate Weaver] ” I don’t see any reason for Grant to go out of his way to say something like that other than it’s really the way he feels.”

Hard to say. However, having been around computers for ~ 40 years, whenever someone in sales says “this screams”, I assume that its around 5% faster and costs twice as much. Maybe I’ll be wrong this time, (like the time I was mistaken).

jPo

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

[Joseph Owens]

[brandon thomas] “Surprisingly.. Super 16.”

Which I have seen either tack-sharp to the extent of *why would you bother with 35?* or *OMG, was the lens loose in the mount*? Which wouldn’t be too dissimilar to a swing-tilt.

Anyway, this discussion is sort of orbiting around another thread on another forum regarding production methods and art:
https://www.messynessychic.com/2013/06/06/the-reclusive-peeping-tom-photographer-and-his-cardboard-camera/

For a super-grungy look, I recall transferring a thousand feet of low-speed B&W that was hand-processed in a bucket. For a skateboard video, what else? No, definitely not a shampoo commercial for dolly-bird who is “worth it”.

So, there is no genre, no matter how “edgy” and “attitude” that eventually doesn’t succumb to its own clichés.

And then we get Audra McDonald dropping the mike at the end of the Tony Awards on Sunday night. Was that really appropriate? Or “art?”

jPo

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

[Joseph Owens]

[Vladimir Kucherov] “Thoughts?”

First impression is that it looks exactly like all those hotel cigarette ashcans that used to blight the landscape. Fill the top with some of that white silica sand and there you go…

jPo

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