Kevin Cannon
Forum Replies Created
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Yeah, I had the issue with a music video last week, but I needed to go through FCP for sound anyway…
Now that I am outputting those reels, it is not working correctly for DPX files either… Usually giving me something arbitrary but close – which is actually worse than it just being way off or nonsensical…
Hoping I’ll have an update soon…
KC
prehistoricdigital.com
hardworkingpixels.com -
Thanks Peter, I’ve been in the midst of a project for a few weeks and not wanted to upgrade to 7.0.3, so I’ve missed that option.
While I have you, there was a thread a while back about how to actually use pgAdmin, step-by-step, to backup the entire Resolve database, but nobody from Blackmagic chimed in to explain. I don’t believe it is in any of the documentation, could we get a run-down on that? I’d feel better using the light-weight autosave if I knew that my pgAdmin backups were working…
KC
prehistoricdigital.com
hardworkingpixels.com -
In the conform page, right click in the window for the offline clip and select “toggle offline/source clip” to get a viewer for your media pool.
I’d also like to know why the projects take so long to save – or what combination of setting will expedite the save (not saving thumbnails, etc)…
KC
prehistoricdigital.com
hardworkingpixels.com -
I’m not 100% sure here, but nobody else seems to be chiming in…
It looks like you open pgadmin, then “add a connection to a server,” you’ll be prompted for a name (perhaps “resolve”) a host, port, username, password (case sensitive)…
Most of which can be found in the login screen>database manager>connect screen.
Then you’ll be connected to your resolve server and can select it and access the “backup” tool, which the documentation says is simply a GUI for the pgdump tool.
It generated a 1 GB file for me, I haven’t confirmed that it worked.
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I usually like to use the Scene Detection feature as a handy way to check and edit a client-provided EDL (usually I find plenty of through-edits etc). I load each quicktime into the scene menu, then load the client-provided EDL to notch it, check the edits, change where necessary, split and add media, save a new EDL, then load the EDL from scene detection in the conform window.
I don’t recall having any trouble with multiple reels, as each reel begins with a new hour timecode, each EDL loads without conflicts (if each reel has a new hour timecode). Sometimes I use the media browser to change the timecode of a source clip to suit…
KC
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Well, you could leave the lights stationary and move flags in front of it, but if you’re going for the effect I think you are (timelapse environment with live action FG action?) the static lights won’t have the same effect.
Perhaps a crankovator stand along with flags could allow you to raise them at the right speed (depending on your speed?) Build a platform to push on dolly track, put a crankovator on that?
I think they do this effect in Harry Potter 3 (the time-turning device turns back the environment towards the end) without CGI, but likely they have precisely controlled moving lights and multiple passes.
KC
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Good solution, but if you replace the -v in the filename, you wouldn’t be able to reconnect in FCP to Resolve-rendered media based on original filenames. Perhaps this?:
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They have -v at the end because they were created by the media manager function in FCP, right?
The last time I used that function, I had to individually add the .mov extension to each of those clips in the finder, which I guess the media manager does not do. Once I did that, Resolve recognized them all.
There’s probably a clever way to use automator or such to add the extension, but it wasn’t immediately apparent to me.
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Well, it says “9-current series” on the website. I wasn’t sure how to read that so I asked their tech support and they said it means “9 through current series”. But perhaps somebody else here knows for sure.
KC
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Well, the RED camera company has always had a different opinion than others on what “35mm film resolution” is. A good explanation of some of the differences between 35mm film and bayer-pattern digital cameras (like the RED) is the “4K+” report by Arri: Arri Group 4K+ Systems. But yes, the RED became popular for it’s combination of resolution, sensor size, and price.
As for the 5D and 7D, some cinematographers are happy to use them in feature films; Shane Hurlbut (Terminator Salvation, We are Marshall) shot a feature called “Men of Valor” primarily on the 5D Mark II. It would be a good one to track down to see how well it compares.
Those that aren’t happy to do so often say that the rolling shutter makes camera movement and quick-moving objects feel wrong. The footage is compressed with codecs that are not suitable for intensive post-production (I think they all use the web standard h.264, but I’m not sure for all). As a colorist, I can attest that much of the shadow and highlight detail that is can be captured by those DSLRs in still picture mode is lost in compression in motion picture mode.
Since these cameras were designed primarily for photographers who need 5 or 8 frames per second, it’s no surprise that they need to make a lot of compromises to get up to 24 or 30 frames per second.
Perhaps in a few years these cameras will be capable of data rates that allow for 24, 30, or 60 frames of RAW data, and will be able to receive the sensor data without having to employ a “rolling” shutter. At that point they will be much more on par with higher-end cameras.
It’s also worth noting that high-end digital cameras have a completely different set of lenses, accessories, and support, which have a lot to do with how a film ends up looking.
KC