Kevin Cannon
Forum Replies Created
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Hi Ian,
We’ve had this on three features I can recall – twice on Red and once on an external recorder taking a signal from an f3. The former had corrupt frames regions in the frame and the latter had completely missing frames (the editors didn’t notice because their dailies had a doubled frame instead of showing a black frame.)
Anyway we took three separate approaches:
If the corrupt region of the shot was pretty still we would render the shot out as DPX (2K for these particular projects, we do red log film and cameraRGB or red color 3 depending on the colorist’s preferences). Then load the shot back in on the track above and use the resolve dust/dirt tool set to auto/temporal +1/-1 to drag rectangles and “paint” away the corrupt frames with the previous and next frame. Resolve fixes the DPX source files “destructively” with this tool so there’s not unlimited undo with this approach so we would proceed slowly and keep a copy of the DPX in case we needed to start over.
If the region of the shot was moving, the first approach might have failed. Then we would go into the edit window, copy the shot to the track above, trim it so the top track clip starts on the frame before and is three frames long: good frame bad frame, good frame. Then set it to double speed, (good frame, good frame) and render it (you can add extra frames if it helps, we used DPX). Then drop that clip in on a track above and make it half speed with whatever blending mode works best, and it will interpolate frames in between and line them up again so you have good frame, new frame, good frame. Also you can add an alpha output and use it to limit the interpolated layer to the bad part of the frame.
In one of the cases (the external recorder) we had driving scenes and dance scenes with missing frames, so the interpolation was sometimes a failure anyway. In those cases we output DPX to after effects, did the same type of interpolation, and painted out the artifacts it created.
It took a while but hopefully the specifics of your footage makes it as easy as possible.
KC
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I have g13s working on three stations which are Resolve 11 and 10.9.4. Didn’t have any particular issues when we upgraded to Resolve 11.
KC
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Hi Andreas,
The master timeline is a timeline Resolve creates (if you have it set to in the project settings) which contains one instance of each clip in the media pool – the whole clip, first frame to last. It’s helpful to have in many situations, a couple examples would be if you wanted to create an XML of everything used in the project (for media managing) or if you decided you needed to render out an entire take (as a VFX Pull or something). Since it updates as you add to the media pool (at least that’s the default behavior) you can count on it to be up-to-date while you work.
If you are using local grades as you color the edit, you won’t be able to take advantage of this last one, but with remote grades grades are shared between the timelines, so if you needed to do something that involved the whole clip (like do a keyframe across an entire take, but that take has been cut up into very short cuts) you could use the master timeline to work on that remote grade outside the context of the edit…
But if you don’t need to do that stuff, or are using local grades anyway, it shouldn’t be an issue…
Cheers,
KC
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I’m gonna throw the whole place a party the first time I have a project that comes across perfectly.
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Hi Richard,
Check out this podcast:
https://coloristos.podomatic.com/entry/2014-01-20T11_55_53-08_00
It’s a good summary of a bunch of testing.
As for myself, We’ve been playing with a 6-core and a 12-core “hero” nMP. I concur with their conclusion that the real “bang for your buck” system might be the 6 or 8 core, with upgraded GPUs. If it’s powerful enough for what you need to do.
Cheers,
KC
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Hi Andrew,
You can switch back to “use remote grades,” so you wouldn’t have lost all your work. However when you switch back every clip will be set to “version 1” so if you use many versions as you work, it still might take a horribly long time to reset them all.
But yes, we all work one accidental click away from this catastrophe. I put in a request for a confirmation dialogue box at least, but best case would be that it switches back to the last version set on the clip.
KC
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Hi Itai, could you show your node tree and give your order of operations?
Keep in mind that if you put the LUT (or corrections that do the same) in a later node (say node 3), that will drastically exaggerate changes you make in nodes 1 and 2. But if you add a node 4 the corrections you make there won’t be multiplied by the LUT, so to speak. For that reason I like to set up three node: 1 is for rough adjustments to the log image, 2 is for the LUT (or corrections that do the same) and 3 is for fine adjustments.
KC
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Hi Philip,
We just ran into this yesterday on our first R10 round-trip to Premiere. The resolve XML failed to open in 5.5 or CC.
Not a great solution, but we imported into FCP7, copied the clips into a new sequence, and exported a new XML from that. I can’t say what effects might be lost in this workaround, but it seemed to cover our relatively simple timeline.
KC
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Thanks Peter, for the Mac installation, is there a recommended OSX version? Mavericks?
KC
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