Marc Wielage
Forum Replies Created
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Not to my knowledge. Spend the money and buy the Studio version.
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Be sure to read this, which covers some of the problem:
https://jonnyelwyn.co.uk/film-and-video-editing/colour-management-for-video-editors/
Basically, things will look different in VLC, in QuickTime, in different browsers, in different OS’s. In a color-managed playback situation, you can generally predict how it will look if it’s going to a calibrated display. Without that, it’s the Wild West. I draw comparisons to sound mixes: they sound different on small speakers, big speakers, earbuds, TV sets, laptops, and theaters. Same mix, totally different sound in each.
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How did you create the screen grab? What happens if you just grab the bars as a still then export the still? How is your signal chain being processed? Is there a chance your operating system is affecting the output? On the surface, this looks like a Full/Video Data Level problem.
Look at the bars on a color-managed output to scopes and tell me what the scopes look like. I’ve never had them change even one pixel.
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I think there is a BMD philosophy not to allow color-correcting generator-only images, but what is frustrating is that you also can’t render them. You have to either turn it into a compound clip (which is a real file) or place one “real” file format on the timeline before you can render a mostly-generator timeline.
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I agree with Michael above, but I also generally ask clients to give us the stills as ProRes 444 files in the delivery resolution with the positional changes baked-in. That way, there’s going to be no question it’s going to work.
If there’s any push-back, I remind them that if they were moving the session to any other edit platform (like Premiere or Avid or FCPX or whatever), there would still be a lot of workflow issues with large numbers of still frames. If it’s just a handful of stills — say, a few dozen — we can do it that way. But anything more than that, I’d rather they render them out and let us only have to worry about color.
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Timeline -> Split Clip also works if you’re just trying to cut the clip right where the playhead is at at the moment.
You can also do this with ⌘\ (on Mac), and you can hit up-shift+ Split on the Advanced Panel. These two commands also work in the Color page, which is handy if you need to split something when not in the Edit page. Sadly, the Advanced Panel shortcut does not work on the Edit page for some reason.
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This video was recently subjected to massive amounts of criticism by some fairly experienced colorists. There is a danger in accepting the word of neophyte people who post videos to YouTube and claim to be experts. Use caution.
If you’re on Facebook, there’s a discussion with about 50 highly-critical messages about this particular video…
https://www.facebook.com/groups/306080639552827/permalink/1205525516274997/
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[Terence Christopher] “After help from many users I realized that DNxHD was immensely better and started switching to that format. However that also has been impossible for me. The new clips that I have look like this Clip 001_DNxHD-HD1080[Anamorphic], however I cannot get them into Davinci.”
How are you bringing the clips in? Are you using the Import Media command or dragging them from the desktop?It would also help if we knew about your system: what hardware (CPU, RAM, GPU, disk i/o)? What OS? What specific version of Resolve? What timeline resolution? What resolution and aspect ratio does the format have?
Is this Resolve Studio or the free version? It may be that there are issues with using this format on the latter, particularly if it’s 4K or above. I have done many sessions with DNxHD and OP1a from Avid in Resolve and it works great.
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This does not sound like an OFX problem per se.
This sound like you’re trying to do a composite with a signature on Track 2 and another image on Track 1. Is that correct?
If so, is this a premultiplied image? How are your composite controls set in the inspector? A lot of this is covered in the manual, Chapter 33 “Compositing and Transforms in the Timeline,” starting on page 601. If you’re new to Resolve, go through the entire manual and check out all the various modes and it’ll all start to come together after awhile.
OFX modes in the Edit page are mainly for transitions, and then there are other kinds of OFX features available in the Color page for enhancing images, creating flares, softening skin tone, and so on. Two different things.
BTW, post all your hardware specs and what kind of source material you’re using. This will help troubleshoot the problem.
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No, that feature doesn’t exist. You have to just remember. I honestly don’t care what Gallery still I use as long as the color is good.