[Kevin Cannon]

Hi Chad,

As far as getting the media in, you may need to do it in two steps… see how this works: first load the XML and tell it to automatically load media and ignore file extensions. When it asks you to select a directory for the media, point it to the directory with ONLY the R3D media and it should ignore the extension and load all the R3D clips into the media pool. You’ll get a log that explains is could not find all your 5D stuff. Then right click in the timeline to “add additional clips” (or whatever the exact wording is) and point it to the folder with just the 5D footage and it will load that into the media pool.

KC

[Kevin Cannon]

Hi Joe,

It can be quite easy – here is the basic rule to remember: Resolve stores much of the work done in the DI in the Master Session, not in the individual timelines that match the picture edit. By working in a timeline (let’s say the timeline is your rough-cut) and using “remote versions,” all the changes are copied over to the master session and become associated with the source clip’s reel# and source timecode. Because the master session saves these color versions based on source information, you can change or delete every other timeline without affecting the master session or losing your color information.

It is important not to use local versions in this case, because they ARE stored in the individual timelines and will not automatically copy over from timeline to timeline. Also, there is a decent amount of work (usually the work done in the conform page and some parts of the format page) that will not be stored in remote versions, so I avoid spending time on those parts if I’m grading a timeline that is not final.

Some colorists prefer to put every reel of the feature into a single project (and by extension a single master session) and some prefer one project-per reel… But you can find some of those threads on this forum.

KC

Prehistoric Digital
PhD Grading Suite

[Kevin Cannon]

The 8.0 release notes only specify using 3 mattes in RGB… I think they would mention it specifically if you could use more channels with open EXR. But again, I just remember that feature, I’ve never actually used it.

KC

[Kevin Cannon]

Also, are your mattes coming in 1 or 3 per DPX sequence? Starting with 8.0 Resolve supports using the R, G, B channels for three separate mattes… I honestly have never had a reason to figure out how that works, but sounds like you could ask your compositors to provide them that way… It’s very common to do that in Nuke, right? Best case scenario you could have one third of the mattes…

KC

Prehistoric Digital
PhD Grading Suite

[Kevin Cannon]

For your problem #3, are you rendering in target mode? Target mode should bake all visible tracks into the output exactly as you see them on screen. You would have to set ins and outs for each quicktime you want to create.

Cheers,

KC

[Kevin Cannon]

My personal favorite, especially nice to use in the dark:

https://www.logitech.com/keyboards/keyboard/devices/5123

KC

[Kevin Cannon]

Yes, Gabrielle is right on that… usually you don’t need to manually apply the legal values scaling… but if you do need to (like to create legal value DPX) that is one way to do it. And now that they’ve put the full range/legal option in the render window, I think you can use that instead as well…

KC

[Kevin Cannon]

Here’s some copy pasta from this thread and this thread

****
Yup, the video monitoring selection of full-range vs. legal only applies to the video outputs from the card – if you want that transform to appear in your renders, use an output LUT that scales to 64-940 (you can create one in just a minute with the soft clip lot generation tool).

Once you add the LUT you will probably want to switch your monitoring to “full range” to avoid doubling up the effect, but you should get an identical image to your displays. I usually use external scopes, but I imagine that you would see the scaling on the internal scopes.

****
You can add an output LUT that will scale (or clip) DaVinci’s internally 0-1023 into 64-940. Davinci provides a DataToVideoScale LUT, but nobody has been able to tell me why the provided one seems to clip information in the shadows and highlights.

I recently used the “generate soft clip LUT” tool to create a LUT with 64-940 range and “scale” enabled. With that LUT and “monitoring in full range” the show looked identical to how it did without the LUT and “monitoring in scaled legal values” was enabled.

That LUT should be applied to any file outputs (I only have tried it with DPX though)…
****

Cheers,

KC

[Kevin Cannon]

Hi Juan,

Great to hear. Out of curiosity, is the footage you’re working with a camera test or a completed production? Just wondering where these cameras are in terms of market proliferation…

KC

Prehistoric Digital
PhD Grading Suite

[Kevin Cannon]

As far as I know there is no what to see what the transform is, but you can right click on a clip thumbnail in the color page to enable or disable “use resizing info from XML” if you need to turn it off.

The resizing effects from the XML live in the timeline (rather than in the master session, which is what shows up in the input sizing tab). It’s a little odd, I agree, but you can always turn it off and resize from the original…
KC

Prehistoric Digital
PhD Grading Suite