Joseph Owens
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COW Coins
16
DaVinci Coins
Forum Replies Created
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[Andreas Kiel] “When I was younger I was an “every day all night amateur player” and one day I met the German champion, and I won four times in a row.”
Wow. That is an achievement. Out of curiosity, there must have been a kyu adjustment — did you start with handicap stones and did that number change? I used to be able to tie the club champion occasionally at 9 stones…
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Timo Teravainen] “Is it possible to have both installed on the same machine?”
Not without extraordinary intervention, like an alternate boot drive.
Some operations created in the full license will not be accessible in the Lite version, ie. Noise Reduction…
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Rick Turners] ” Is there a work around for this?”
Yes there is:
(Manual page 229 or Find the heading in Chapter 9 “COLOR”…RED r3d Clip Decoder Control
DaVinci Resolve offers native RED r3d decoding. In the Configuration screen Source tab you can
select to use the RED Default decoder settings, the camera metadata, or set project based decoder
parameters for DaVinci Resolve to decode and debayer the r3d files. On the Color screen you also have
an extra layer of control, a clip-by-clip control.
If your timeline has RED files, right click on the thumbnail to reveal the option ‘Edit RED Codec Settings’
and this will open the decoder control window.&c.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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In the spirit of Meh, the Element of Indifference…
I am still responsible for Online, where the penny drops. Versions, seamless, subtitled, textless, captioned, up- and down-converted, widescreen, letterboxed, center-cut … &c., its an endless list. I do not care one jot at all about editing, other than all the times that I have to fix the myriad of editorial errors, revisions, omissions, didn’t-know-how-to-do-it-so I-kludged-its, that come with the job, because….
Because at least 99% of individuals carrying out the duties of editorial construction really don’t have a total grasp of how to actually operate the software. I don’t… been in the industry nearly 40 years. It keeps changing and often its just a waste of effort to become fully conversant with something that could be obsoleted at any time. But sit down with a trainer sometime, someone who really does deserve the title, or on-line handle “FCPGuru” or whatever, and its pretty apparent that what you can do in one application, more-or-less, you can do in any other — with the exceptions of the absolute, over-the-cliff non-starters like codec support, or media types, or the other, largely political/proprietary gotchas.
Ultimately, arguing one application over another, feature by feature, is kind of silly, when a professional’s clients utterly do not care about those things and only want to realize the benefit of somebody using a tool that solves their problems with no added pain. SHAKE works like my brain works, and so even though it is as dead as an application can get, while it supports up to 4K resolution more or less agnostically, I will use it and make money with it… its pure profit now because it has been well and truly amortized. And waddya know, it still works, beautifully.
About 30 years ago, when I had more time on my hands, I became familiar with the Japanese-rules strategy game of GO. Read the books, joined a club. Deceptively simple, 8 rules (like dating a teenage daughter, but even Kaley Cuoco has moved on). Oldest board game in existence, played unchanged at least since the Tokugawa shogunate of the 1600s, when it was at its zenith of national regard. Still very popular – pretty good for something that has been around for at least 1200 years. The secret of its appeal is that it is infinitely complex — possibly something that a computer will never be able to master, because of the 361! (factorial) outcomes of any particular game. There may not be that many atomic particles in the universe. Add the nuance that some moves are played strictly for aji (taste). One of the best introductory books (“Fundamentals of GO”) was written by a “strong amateur”, Kageyama — somebody tarred with the title of someone who could never attain the ranking of a professional. He dealt with that description, and this is the reason for this paragraph, with the observation, not entirely original, that the real difference between professional and amateur is that the latter play for the love of the game, while the former — well, its their job, they work at it, they are paid to win. Almost nothing else matters for them. Do what you have to do to win, however you measure that.
Now I have to go pound some nails and set some stones. The wolf is at the door, huffing and puffing, and may have more ko threats than me.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Jeremy Garchow] “My first choice, would be to try Compressor. Test both the best and better settings for the frame rate conversion option and of course make sure to leave duration at 100%.”
Now that I have a Teranex, that is what I would choose. Prior to this, Compressor has been the go-to, but it does take an enormous amount of time to achieve master-quality results.
“Good” isn’t, “Better” adds a zero to the end of the estimated conversion time, but is acceptable, and “Best” adds another zero to the time required, but it is not 10 times better.
and of course, YMMV.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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I might have been tempted to re-import the new version timeline into the original Resolve project (you can have more than one timeline in a project) and all this ColorTrace stuff would probably have gone moot, especially if all the original master clips were the same…
ColorTrace is largely only interested in matching reel no. and timecode, just like re-conforming an EDL or XML. How did you realize that some shots did not have a grade associated with them? No rainbow in the
COLOR timeline window once ColorTrace closed?jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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Thanks for that, so basically you are saying there is no simple way to get resolve to output broadcast safe video. From my understanding Broadcast safe is where white levels are a max of 1000 (100%), and there is not too much of any given colour.
The simple way is to leave the settings to “Auto”, which seems to be working properly after a little kerfuffle a couple of years ago.
I don’t know about “1000” — if that corresponds to 100 IRE +/- 2 IRE, then that is generally the accepted maximum for luminance. “Not too much of any given colour” is not usually how SMPTE describes things. The only meaningful discussion anyone can have regarding broadcast safe is within the context of a true Y+C baseband composite environment, and even that is really only truly relevant to analog transmission. Today, with numerical digitized transmission, it is extremely difficult to generate Out-of-Gamut values, when 64-940 is so clearly defined as the outer boundaries of component values. Where the real violations occur, more and more, is in crap encoding on cheap hardware.
I do know individuals who rely on the FCP “legalizer”, but be aware that it has its limitations, does nothing in the blacks for chroma undershoot, and ignores the first and last line of every frame.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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HDCP protection would it. Isn’t that only for DVD players and those things
Tape masters would appear to be evolving into being a kind of encryption protection, anyway, since fewer and fewer individuals and organizations own/operate them. Tape is also a more robust archiving medium, although it still cannot compare with emulsion-based images.
File encryption is a can of worms. The unfortunate reality is that the kind of protection that works is to personally carry around a thumb drive that only you know the password for. All that other stuff, especially the checkboxes in the DVD authoring software, have no effect whatsoever on “copy protection”, as that kind of encryption or encoding must be done under license, and this is not a feature of any consumer application, and I am including DVD Studio Pro and Encore in this category.
This will become more important as time goes by, certainly a factor in the DCP generating component plugin for the forthcoming Resolve release Ten, whether you want to buy the license for that (and how it will be priced to include the entirety of DCP licensing, encryption, KDM generation, etc). But realistically, most files become unreadable and corrupt within a couple of years anyway, so why worry about thieves when we can’t even keep the projects alive ourselves, or in the case of the “Cloud”, keep on paying “protection money” to an international corporation?
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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probably also time fora few surprise urine samples.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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Perhaps the source of ambiguity for you is that Autosave is not active by default.
You do have to turn it on, and the list of options govern its behaviour while it is operating.
eg Save every… is the dialogue that sets how often a full or updated, progressive cache of the project is set aside. For you to have no backups in your list means that you have not been autosaving, or the interval is Never.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.