Joseph Owens
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COW Coins
16
DaVinci Coins
Forum Replies Created
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Some reading could shed some insights: Color Correction Handbook by Alexis Van Hurkman, Chapter 7.
“Memory Colors: Skin Tone, Skies, and Foliage.”
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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I saw a bumper sticker on a car parked in a Student parking lot of the University of Alberta (I walk through it on the way to the LRT station) that read: “Evolution is a Theory, Creation is a Fact.”
Too bad they don’t know the difference between “belief” and “knowledge”.
And consequently wonder what the H— they are doing at a University?
Especially one whose motto is “Quaecumque Vera” (Whatsoever Things are True).And so there it is… filostafee, the way Zappa would see it, ie. RU effing kidding me?
Really, this debate is a waste of two years — the fact that there is a debate indicates quid pro quo that the experiment is a failure.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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Its a very old problem. The only way to make a time remap bulletproof is to render the thing out of the original timeline to create a new clip that runs at 100%. Re-imbed that and then you can be assured no further changes will occur. Oner benefit is that this gives you total authority on which frames actually appear, instead of some kind of duration/frame count mismatch in another application. It does lock your selection, so if you change your mind, you will be doing it over again… but it also cuts down on a lot of processing time as the post proceeds.
Frame sequences may add another layer of complexity to the situation since the individual frames don’t really have a frame rate other than a metadata value that should tell an application what the overall frame rate of the sequence should be — otherwise you’re just dealing with a stream of numbered stills. Each one of these actually has an individual frame rate value of “0”. Its one factor that otherwise complicates the “handle mixed frame rate” implementation in Resolve.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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My experience is that if you want to test the importance of anything, delete it. Your client will want it within 24 hours.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Laco Gaal] “I just wanted to know if this is the right way to do it, or not?”
Its “right” if it works.
It seems your AVID project is probably set up for full range RGB, so it is rescaling 0-1023 as 64-940.This can also be an issue for “Uncompressed” codecs being passed between OSX- and NTFS-based editing systems. Quicktime will often default to compressor “none” in that case and the scaling flags become meaningless.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Kevin Blum] “The effect is at 40 seconds and again at 59 seconds.”
The same matte is used for both, but you will notice that in the first instance, the content fill is different for each panel of the final composite, while the matte/panels become filled with a single source image in the second and flashes over in segue to the next scene.
It probably could be done in FCP in a couple of steps, and a lot of layers, if you insisted on staying in the editor, but sometimes, as Dave suggests, its better to get into a compositor.
I see the effect as a classic A/B/travelling matte, but in this case, the matte reveals either a single background plate, or a background source that is itself a composite, using the same values for motion and geometry as the travelling matte itself. Matching those values would be the tricky part.
National Geographic specifies a treatment something like this for some of its’ series, and they did send out a Media Composer template — but I was a Final Cut user at that point, so I re-did the effect in SHAKE — kind of a Rubik’s cube of crop/motion/size adjustments. The show was “Hitler’s Stealth Fighter” if you are slightly interested and can find the broadcast version. The show title is dropped in most streaming versions.Good luck.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Justin Geoghegan] “Any thoughts as to why it makes everything all red when I render it?”
RGB codec mismatch?
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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Why not try deleting the stills from the application inside the project?
I would want to be very careful in changing folder contents at the OS level when the project is still expecting paths and media pointers to be valid.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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By any chance, was your original source RED?
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Jason Brown] “does Resolve substitute a standard dissolves in place of Avid film dissolves?”
Resolve rebuilds the XML or AAF timeline to the best of its ability, but it is not capable of supporting transitions that are application specific. If you look to the left of the Conform screen, (“Effects Pool”) WUCIWUG. It should be reinstated as the original effect once the exported (Resolve) AAF is opened in Media Composer or Symphony or whatever you’re using.
There are a number of transitions in both FCP and MC that may not survive the round trip. I have a producer/editor combination that is in love with the “film flash” crossover, but the XML is always corrupted/misinterpreted somewhere in both Resolve and Apple COLOR so that instead of a brightness multiplier, the effect is changed to a scale-zoom multiplication, so there is no “flash”, but the picture “zooms” up to some huge value and then back down to 1. So I always have to manually fix all of those in the returned grade timeline.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.