Joseph Owens
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COW Coins
16
DaVinci Coins
Forum Replies Created
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[Shane Ross] ” A 720p60 sequence mixes 24p well.”
Because the 60P is mimicking the behaviour of an interlaced 60-field 29.97 timeline. Be aware that true 720P60 should have an AP Advanced Pulldown pattern of 2:3:3:2, which makes it easier to reverse telecine — one caveat is that the Panasonic pulldown removal tool will only work with DVCProHD in that format.
The reason why should be obvious as it is much more difficult to reverse telecine 2:3:2:3 cadence than throwing away the redundant “middle” frame in an AP codec.
I wold not choose DVCProHD as an editing format — although it is fairly compact, that is one of the reasons it is also a fairly lossy codec.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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Resolve supports so many formats now, it would be rare for the issue to simply be a codec incompatibility. So what occurs to me (which is what the issue is most of the time, now) is: do your 720P clips have a .mov suffix?
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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Otherwise, its us.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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Wait for Resolve Ten, and then you will be able to turn it up to eleven in the grade…
(Supported plugins)
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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Not at the same time, since the application (and you’ll have to install the appropriate version of the software) will ask for the dongle on launch, but you can operate on several platforms with the same license. And there’s always Lite.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Paul Provost] “But pull a luma key on the shadows first. Especially on the epic stuff.”
This is probably a more even-tempered approach. The other edge of the sword, when you introduce what old timers would understand to be “aperture correction”, is that you add a spike to everything. So the danger is making your image “noisy” on one hand, and “haloed” on another — the famous white after-shadow on over-compensated footage. How much is enough? Nigel “Salvnel”, of course, is correct with “11”, but it will affect the sustain. Thank you, Christopher Guest.
A tech supervisor in my past used to refer to the process as “phony focus”, when tube cameras were unable to achieve much more than 800 lines. Consider that human vision usually excludes everything outside the photographic “zone 1”, so optically, really, its only the middle ‘cone’ of subject emphasis that will benefit from the attention, and, then generally only a wide qualification of mids. If only we had that on those old Philips LDKs.
“Sharpness” is a *power* function, mathematically, defined in an imaging device within its MTF – mean transfer function – generally, it is unrelated to resolution, or less important than, contrast.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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You will be working in a whole number framerate one way or the other, so you won’t be likely to encounter the fractional problems that NTSC editors have to contend with. A broadcaster will eventually want a 25i master, which can be derived from the 50p timeline.
Most valuable piece of advice when working on pop promos, though, is (if you are doing this for pay) to invoice early and often. And then stay on top of the collections.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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4K Full Res Premium is not going to run smoothly on a single GPU system.
If you can’t spring for the second (or more, preferably) CUDA GPU, try Quarter-Res.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[jim bachalo] “Is this considered a ‘normal’ workflow?
ie as a best practice should you normally use Resolve for ingesting source files and creating your offline media for editing?”
Best practice is to adopt an E-E workflow that makes everybody’s job seamless. That will vary, depending on everyone’s preferences — what camera you are shooting with, what codec it produces, where the dailies are going and what the best format will be for storage, data throughput, and re-conform in the edit process. If we could do everything RAW/unconverted with a native camera codec, that would be the most straightforward, but we seem to be actually going in the opposite direction to that, because we need different data densities at different stages to cope with up- and down-scale platforms, where codecs that are fine in one instance are non-starters in others. Easy to say “4K”, but that’s without doing the math.
Resolve is one of the most platform-agnostic solutions available at the moment, dealing with most codecs, coughing up all kinds of edit descriptors — XMLs, EDLs, AAFs… Mostly where things go off the rails is when someone decides to get creative and is either ignorant of, or ignores the rules about the interchange and pass-through conventions. Not everything works the way “they” say it does in the brochure, but leaping off a cliff with an umbrella (because, in theory, its not that different from a parachute) is not going to be without its own set of adventures.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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Just wondering if a Copy / Paste-Attributes (stretch to adjust for clip length) would help, but all of your Ken Burns stuff is probably unique to each clip…
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.