Joseph Owens
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COW Coins
16
DaVinci Coins
Forum Replies Created
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[Rohit Gupta] “The System Config setting is database specific, there is no global setting across all databases.”
Which, although not entirely convenient, might not be a bad thing.
And has been how it is for a very long time and reminds me of the days of re-setting systems with every new version of software, even in Renaissance times. (Yes, we were doing color correction in the 1500s) And each user would need to set up separate configurations for each telecine gate (35, 16, super16), and then we’d create scan and masking basemems for different stocks and apertures — for example 16mm Academy Vision2 500 on the ‘super-16’ gate (although in the late ’90s (that’s 1490, before Columbus!) you might use that for 80% of your schedule) — some pervert would come in (Savonarola was famous for this, so we learned to phone in “ill” on those days) and want the whole image area anamorphic, which is doctrinely *more pure*, which would change the scan patch enough -URSA CRT – to warrant a new TAF setup (so put up three film loops — the Kodak Telecine Tools grey chart, followed by the appropriate TAF loop for that stock, and then the Channel 7 16×9 ground glass… actually the scan patch needed to be done first, whoops start over…).Which would be good for a couple of months. So the permutations were large and really had to be checked for corruption every time you re-booted, anyway…
Then there was the confusion between what was a configuration basemem, user basemem and session basemem…
Frankly, I find Final Cut to be worse for pref corruption and getting blown away every time you update anything in the chain, with the added bonus that it doesn’t warn you about anything. At least DaVinci advises that you’ll have to update your database…jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Mohammad Tavakoli] “Is it possible for me to link the sequence back up to the H.264 camera files in resolve for grading? Does Resolve support H.264?”
Its sort of possible, Resolve does support H264, (mostly for dailies, to convert an awkward format into a workable one) but why would you want to do it?
You already have everything in an intra-format which Resolve is going to like better than the camera Long-GOP (and you are likely going to have to track down a lot of ‘spanned’ files).
No advantage and a ton of work just to go backwards. Been there. Go with the DNxHD. If there any special processes in the timeline, like speed changes, you will be avoiding a lot of problems to come.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Juan Salvo] “I think it’s a bit up to taste.”
Might also be a difference with which control panel you’re using– if you have more direct access to either the stills or memories, then there may be a speed bump (up or down, I can’t say). I rarely use memories at all instead picking either from stills or the timeline, whichever is handier.
I sort of miss the macro [-][2][copy][preview] for “he said, she said” camera cuts, but auto link takes care of that, except for when it doesn’t work and you have to disconnect the clip in favour of a local.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Matthew Love] “NOW, when I change my preferences to activate my sdi card I restart resolve, have an image in my view and on my sony OLED but when I click on the show scopes they don’t activate. “
Has the feel of the application trying to open the scope window on a “phantom” 2nd monitor.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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AVH suggested using “flags” for this purpose. Apply a flag to a clip, and the flag will show up in all the “connected” clips that have the same parent master. Filter the timeline for that flag…
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Matthew Love] “When I run resolve to my Sony OLED via a deck link SDI card and right click on the viewer and hit “show scopes” I get nothing. Am I missing a step here ?”
The scopes are meant to be displayed on a second GUI display, not on the Video I/O SDI output.
So, actually a three-monitor system if you want the scopes on a second computer monitor, with the image output on the (third) SDI grade monitor.jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Elizabeth Kueneke] ” When I am in FCP itself, I always get an error when I try to export the file into Quicktime, also when I try to export with Quicktime Conversion”
If its a “General Error”, she probably has a very large still frame somewhere on the timeline, or a non-conventional resolution. FCP doesn’t have the vocabulary that would enable it to communicate this back to a user in a comprehensible way. And its something that a new-ish user wouldn’t understand to be a deal-breaker.
I know a lot of people export Quicktimes out of FCP to use as archives and master-donors, which is generally a very good idea. Call me crazy, I like sending the sequence to Compressor — and if there’s something illegal about the sequence then I deal with the violation, and if not, then one of the hidden secrets of that workflow is that Compressor treats the event boundaries as compression markers, which helps with quality. Otherwise it needs to figure out where the cuts are if its dealing with a single, continuous file…
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Mark Fanjoy] “I’ll try sourcing that 3 sec default setting.”
You’ve found the “Make new clip” on timecode break in the Preferences, so now go to Audio/Video Settings and click the “Device Control Presets”. Copy the current DV controller, open and edit its Preroll default down to something that doesn’t sacrifice too much footage but still allows the machine to “lock” on roll.
This is a dangerous territory, as some codecs also need some time to establish a coherent data stream, and a too-short pre-roll can sometimes lead to incoherent captures — sound out of sync with picture, etc.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Ken Tannenbaum] “My plan is to see a file through the process to a final QT movie. If it looks good, fine. If not I’ll extrapolate a “backward” plan to change the color, etc. for the better and check it again as a “final” version.”
Its a plan.
What most people do is create a “transfer LUT” — implemented as a “Look-Up-Table” which bridges the difference between colorspaces or presentation media. Some people use them simply as “look” generators. Whatever. Every color correction is a LUT, in a general sense.
There is a limited ability in Compressor to adjust the overall brightness, contrast, etc., as part of its image processing algorithm, so that would be another way of exporting different treatments for different release streams.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Ken Tannenbaum] “More to the point, when you say that the viewer and canvas “aren’t color accurate” that blows me away. I’m positive you know what you’re saying however, I thought the equipment in use…computer+display needed the accuracy and that it was a “given” that FCP’s algorithms are accurate”
This debate got blown wide open about 4 years ago when Apple introduced “COLOR” as part of the Final Cut Suite (and then solved the problem by blowing away the software). Users began complaining very loudly that what they got back from the grade software round trip wasn’t what they were expecting… well, a problem for those who were ignoring the recommended practice of using a Rec709-calibrated Video I/O card (AJA, Blackmagic, Matrox, etc.) and calibrated SDI display. Otherwise, the roundtrip between FCP and COLOR was subject to any number of colorspace, Quicktime, and ColorSync disparities that revealed a fundamental weakness in the FCP Viewer/Canvas interface. At best, they are just slightly better than a wild guess, and not really capable of reproducing the values that are present, even though the sRGB GUI display is supposed to be a relative of broadcast Rec709 — it is just that, and *not* the same thing, sort of like a third cousin. Most graphics display devices, even the “calibrated” ones are just about good enough for print photography and camera-ready artwork, but CCIR-sourced video is actually on another planet from that, but Apple didn’t really let that be a worry that they dealt with; up until they completely rewrote, and tried to reinvent, the video editing industry. Which didn’t actually work out the way they guessed it might. But not for the first time.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.