Marc Wielage
Forum Replies Created
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I think you would be better off learning how to read the Waveform Monitor and the Vectorscope. While Histograms can be useful in some cases, for scene-to-scene color matching, the former are far more useful.
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I think it’s very wise for the camera crew to shoot an actual framing chart on set so that you know exactly what was seen in the viewfinder and on the on-set display by the DP and director.
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You may find instead of keyframing the blur value itself, go to the Key menu and change the Key Output Gain value to 0. That way, if you change your mind, it’s easier to vary the relative amount of the effect rather than the specific values of the blur. Of course, this works for any correction — LGG, Log, secondaries, curves, keys, blurs, RGB, Offset, whatever.
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General Settings -> Pre-Playhead Shadow Length. v14 Manual, page 94.
Not currently working in 15, but I bet it’s in there.
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As far as I know, this cannot be done. One key to post production is: always back up your material and don’t lose it.
There’s an old theory about storage: if you don’t have your data on at least three different drives (preferably in three different places), then you don’t really own your data.
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[Eric Santiago] “Anyone know if this works with the 2013 Mac Pro?”
Thunderbolt 3 only, so no. -
[Eric Santiago] “The opacity keyframe works the same but most of the time I am having to key the position anyway.”
It takes less time to do it than explain it.Another method (if you’re keying the entire frame and not just a window) is to use the Key Output control. There are advantages and disadvantages of doing this way, but that’s one of the beauties of Resolve: there’s often multiple methods for accomplishing the same results.
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[Thomas Kaufman] “I tried to place key frames where I want the blur to begin and end along the timeline but I must be missing something”
You could use a power window to constrain the blur, then use Opacity to allow the blur or remove it as you see fit. But you do have to keyframe it. It’s basically dissolving the effect in when you need it, then dissolving it out when you don’t need it. -
There’s always a solution. Make a bigger window that doesn’t necessarily get tracked. Or qualify a fairly broad key and just desaturate a little bit (either with a curve or with overall chroma, your choice). There’s always a solution… it’s a question of how much work you want to do to get there. Me, I just roll up my sleeves and say, “OK… we’re gonna do this right.” Boom, job done… move on to the next thing.
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I did mention using a window, right?