[Marc Wielage]

What if you brought in the six tracks as a single polyphonic file?

I’m still not of the opinion that Resolve is ideal as a delivery tool for multitrack audio projects.

[Marc Wielage]

Talk to me in email: marc at cinesound dot TV.

[Marc Wielage]

Well, if you’re making a video showing the inside of a high-end studio, then what I would do is just have a scratch track for video editing, and when you’re done, export an OMF or an XML and reimport all the 96kHz tracks into Pro Tools and reconform the project. Do all the sound editing and mixing within Pro Tools, and then combine it all in final delivery. This is pretty much what’s done with every major studio TV show and movie ever made.

Trying to do it all within Resolve is counterproductive (to me). I know that Blackmagic’s intention is to position Resolve as a potential “all in one” finishing tool, but I don’t think it’s ideal for sound — just as I think it’s a bad idea to try to do color within FCP or Premiere. It’s just a question of using the right tool for the right job.

[Marc Wielage]

[Michael Tiemann] “But I am still so shell-shocked that Resolve chooses to crash with no message rather than protest that I’m doing basic grading in Resolve and finishing in Premiere.”
I can’t argue with you there. The program should have good enough error trapping that it should just pop up a message and say, “audio source files must be 48kHz for import” or something like that.

But I do think 96kHz is way unnecessary for normal location dialogue. I don’t dispute that it’s used for high-res music and sometimes for sound effects gathering.

[Marc Wielage]

Alexis’ Color Correction Handbook is now in its second edition. Also good is Hurkman’s follow-up, Color Correction Look Book: Creative Grading Techniques for Film and Video, which goes into detail on specific looks within scenes. It’s not cheap ($35), but it’s cheaper than buying a bunch of hokey so-called “LUTs” on the web, plus it’ll help you understand how the look was built and when it’s appropriate.

[Marc Wielage]

[Michael Tiemann] “I am also having problems…importing 96K audio files. I thought Resolve was more forgiving than that…”
96kHz is extremely non-standard and never used for dialogue in film production, to my knowledge. If you need to use that for your project for some reason, then I would sync it up after the fact outside Resolve.

[Marc Wielage]

Jake does good work and has a good rep in LA. Paul Provost at 4K Finish is also very good; both have good demo reels out there on the web.

[Marc Wielage]

[Andrew Shtern] “Map keyboard to Resolve 8 – doesn’t working. It’s now mapping to Resolve 9 shortcuts (kind of). In this mapping Append a Node (Alt-N) shortcut doesn’t working.”
Do what I do and make a little cheat sheet and hang it on the side of your monitor. In a couple of weeks, you’ll figure out the new shortcuts. It’s not rocket science.

The other thing you could do is use a shortcut program like QuicKeys to remap the shortcuts yourself. That’s kind of a kludge, but it would work.

Let’s just hope they don’t change them again in Resolve 11…

[Marc Wielage]

[andrew smith] “…my inclination is to go back to Slog2/Sgamut and start with a custom curve and primary balance after that node to just grade for a balanced beginning…”
That makes perfect sense to me. As long as you’re grading in Rec709, all the initial node needs to do is put you in a good starting point, and from there on you can do what you want. I’ve generally done the LUT (or a normalizing grade) at the initial layer or node and then thrown the rest of the correction afterwards, but as long as it ends up correctly, it should be fine. The key is making sure you have enough range to get there in the end.

[Marc Wielage]

Jason Myres of the LiftGammaGain site has posted some extensive tests with Resolve and the new Mac Pros:

https://liftgammagain.com/forum/index.php?threads/new-mac-pro-resolve-benchmarks.2256/page-3#post-14966