Marc Wielage
Forum Replies Created
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Quite a few LUTs “break” the image when they stress them out in unpredictable ways. I would bet that this is what’s happening — like something is clipping or crushing or otherwise exceeding normally-permissible levels.
I bet it is possible to get close to the same look without a LUT, particularly for a green screen image, if you really work at it. Sometimes, you have to do one correction to get the best possible key, then a different correction to get the best possible foreground. In some cases, a Layer Mixer might solve this problem.
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Well, you could let the window blow out, then bring it down using the Soft White Clip control, or with Log Gain, or with the Highlight control. A lot depends on what you’re trying to do and the nature of the overexposure.
In some cases, pulling a key on the window and then adjusting only that can work; in others, you might have to augment this with a tracking mask.
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Yes, this is one of those things that requires multiple steps (as Laurent says). It would be nice if we could highlight (say) 4 nodes and then copy and paste them, but that isn’t functional. I don’t think this works in Baselight, either.
I’ve gotten pretty fast at creating a new version, deleting all the knobs I don’t need, storing the nodes left to a PowerGrade or a Gallery still, then going back to the original correction, moving to the next clip, and then previewing that correction. Operationally, this could be improved.
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No, you can only go forwards to newer versions. It used to be possible to export an XML and all the DPX/DRX stills, then import those into an older version of Resolve and manually rebuild the session from scratch. But the last time I tried it with a 15 Beta and Resolve 14.3 it did not work.
I have not tried it recently, so I’m not sure if this problem was solved with 15.1 or not — and my system is tied up the moment and I can’t check it today. Will see if I can experiment tomorrow.
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[Rob Dunford] “I’m fairly new to Resolve, having migrated from FCP7 recently. I’m getting the hang of the interface but I have an exporting problem that defies my investigation!
I’m exporting to a QT MOV file and in the export process the black level is lifted, thus making the image look a bit washed out.”
Put color bars at the head of the file, then once the export is done, pull the file back into Resolve and look at it on the scope. If the bars have not changed, then the color and black level of the file have not changed. It’s always possible for the operating system to affect the image in playback engines, particularly if you don’t have a color-managed output and a calibrated display. Watch it on half-a-dozen other computers, I bet you’ll see half-a-dozen different looks.All you can really do is make sure it looks good in Resolve — assuming you’re using a color-managed output (meaning a BMD display card or adapter) and a calibrated monitor — and then send it out to the world and hope for the best. For more, read page 1885 of the Resolve 15 manual: “Limitations When Grading With the Viewer on a Computer Display.”
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[Michael Tiemann] “I would like to know this, too! Could it be that the answer is “Use the $30,000 Panel” because that panel provides a level of picking precision that’s impossible to achieve using the mouse or limited numerical input precision?”
No. Think of the panel as “a big mouse and keyboard,” because really that’s all it is. It doesn’t offer any greater degree of precision for something like keying. It does give you very fast access to recalling memories and scrolling through all the looks in a timeline, but it doesn’t make keys look better.The only solution I can think of would be to not use LUTs in this way, and pull the key when the image is optimized and in the right color/gamma space. 99% of the time, I work in Rec709/2.4 gamma, so it’s not an issue for me. If I wanted to use a transform for a specific clip (or a series of clips), I’d do it only in the node window. I have experimented with this, but have yet to use it for an actual project.
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[Ilona Konovalcika] “No, I`m trying to prevent banding from 12 bit, surprisingly ☺”
I’m confused. How are you monitoring the image, and how are you sure the banding is not just in the monitor as opposed to being in the image? There should be little or no banding in a true 10-bit display, assuming 10-bit processing in Resolve. -
[Ilona Konovalcika] “I need it not quite for a film effect, more for prevent banding. I already tried “Film Grain” but it is not static (or I just don`t understand how to make it static). “
If you’re trying to prevent banding in 8-bit footage, I would use the DeBand OFX plug-in, which is designed specifically to do this. -
I believe Resolve 15 requires Windows 10 according to all the Configuration documents.
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[Chris Wright] “use resolve’s LAB mode”
You might use this for special situations where you need some really precise, targeted adjustment, but in the real world, we rarely have the time to get that super-tweaky. On an episodic TV project, even if we take 1 minute for correction per shot, and there’s (say) 700 shots, that’s over 12 hours just for correction. And the client still needs to view it and approve it. For a commercial… sure, if you have 10 shots in a 5-6-hour session, it’s possible and expected to get very, very tweaky. But not for everything, certainly not for bread-and-butter situations like the o.p. is describing.Sometimes, keeping it simple is better.