Marc Wielage
Forum Replies Created
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I think Glenn is right and you pretty much have to let it install where it wants to. The entire BorisFX folder is only 255MB, so it’s not that big. They do lean on the copy-protection pretty hard, so it’s not like you can put it on an external drive and use it on a bunch of different computers. I actually wish they’d go to a dongle to allow this, but good or bad it’s not the way Boris, Sapphire, Red Giant, New Blue, Digital Anarchy, HitFilm, and a many other plug-in companies want to work.
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Can you restate this question in plain English?
I can tell you that in general, there are times when a Luma-only Qualifier works better than an HSL Qualifier, and cases where a 3D Qualifier works better than anything… but it usually requires several tries at it. And I usually have to garbage matte-out everything I don’t want. And it usually has to track.
I don’t care what the numbers on the picker are, but I do check the high-con and regular Highlight modes to see what I’m qualifying and what’s being excluded. I can tell you this is a lot tougher with film than it is digital, particularly old film.
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[Michael Gissing] “The irony there is the file sizes are sometimes as big or bigger than the 8:1 compressed 6k RAW.”
File size is rarely the issue. It’s the TIME that’s the big issue. Again, I’m not wrong that a large portion of mainstream TV series and feature films are not being done from Raw files. There are pros and cons either way.BTW, whenever I’m asked, I always tell clients not to shoot at a rate greater than 5:1 — I think that’s about the sweet spot for R3D size and artifacts, particularly with smoke and very fine-detailed images (like grandstands or forests).
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I see about ten Titan X’s on eBay right now, some for around $600-$700 (which is not a ridiculous price).
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[Michael Gissing] “I always prefer to have the R3D files. These days editors punch in on shots as many DPs are encouraged to frame wider. Stabilising shots also punches in so I prefer to have the files that let me do this, not an HD baked version. Also fixing exposure or color temp issues, I much prefer RAW. “
All the major Hollywood features almost always use DPX, EXR, or (for TV) ProRes 444. You can always render in high-res, which will still take advantage of the larger frame size.When I get a project shot on Red where, for efficiency reasons, we have to finish in ProRes, I always try to supervise the transcode process so that I know the debayering and rendering are all done at optimum levels. It’s only when I get backed into a corner — like when the color temp or ISO is screwed — that we have to either re-render or make a drastic change.
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The manual doesn’t say a lot of things. (In fact, they get this menu item wrong in the manual, too.)
I’m telling you this works for me. Try it for yourself and see what happens.
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MacVidCards has a line of GPUs they sell that are guaranteed to work in older Mac Pro desktops.
From my perspective, though, in 2018 it’s getting harder and harder to keep these old beasts running. I don’t see this becoming any easier.
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[Duke Sweden] “I was asking if there was an industry standard procedure you HAVE to adhere to, much like color spaces or “legal boundaries” of highlights and shadows. “
I often say, the beauty of Resolve (or any other complex piece of software) is there is most likely four or five different ways of accomplishing something. The only difference for me is, 1) how effective are the results, and 2) how quickly will it get me where I need to go?As long as the picture looks right and the client is happy, as far as I’m concerned the methodology doesn’t matter. You do have to abide by the terms of the technical delivery specifications, but beyond that this is a very subjective area.
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[Erik Davis] “I have over 20,000 mp4 proxy files in my library that use a different extension than my 4k originals. My workflow has been to work with the mp4s and the do a simple replace media to the original source files that have the exact same name only a different file extension. This seems very simple and basic but it appears that Resolve can’t do this other than one clip at a time!? “
Sure you can. It’s covered in the manual.One way to do it: bring all the H.264 clips into Resolve. Conform the timeline as necessary. Go into General Options and make sure that “Automatically conform missing clips added to Media Pool” is checked.
Delete all the H.264 clips from the Media Pool. Now bring in all the original source clips that have the same filename but a different extension. BOOM, the files should automatically relink to the timeline and they should now work. It’s a handy feature.
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Which OS? Which version of Resolve? What kind of source files are you using? What kind of hardware (CPU, GPU, RAM, i/o) are you using?