Marc Wielage
Forum Replies Created
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[Joseph Owens] “There are employment classifieds (for some time now) that specifically state that “Resolve colorists” need not apply. Tough branding, and a pity because it used to be a big deal to be associated with daVinci. When it was davsys.”
I’m not seeing that. I think 90% of most DPs, producers, and directors don’t care about the system — they only care about the results.Bear in mind that the new STAR WARS was done entirely on Resolve (as was the , so it’s hard to suggest it’s a system that can’t do world-class work.
Granted, there are beginners using Resolve (and Premiere and After Effects and Pro Tools and god-knows-what-else) who try to get work, but ultimately, I think it’s about a person’s skill, their resume, and what they can bring to the table. I tell clients, “I’ve used 11 different color-correction systems in the past 30 years. Resolve’s what I’m using at the moment and it’ll get the job done.” It’s just a means to an end, not who I am, and not a description of what I do.
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[Allen Smith] “To the best of my knowledge it is h.264 footage from a dji drone but not 100% sure I just know that it is some type of h. footage but it could be h.265 but likely h.264.”
I don’t think your machine is powerful enough to handle a challenge like this. Your choice would be to use a machine with (say) 32GB or 64GB of RAM, at least an 8-core processor (if not 16 or more), dual GPUs (at least 1080’s or bigger). One possible workaround would be to transcode the material to a simpler codec first, like DNxHR, and see if that helps. -
The information is not provided for a seamless transfer between edit platforms in XML. This is a problem when exchanging between Avid, Premiere, FCPX, Resolve, damn near anything. It’s possible that if the industry ever goes with an “XML 3.0,” then stuff like speed ramps, complex speed changes, and other factors could be mapped out. Even then, because optical flow is calculated slightly differently between applications, that will inevitably be a little off as well.
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[David Roth Weiss] “It’s the same with every NLE. You save a project that contains all your favorite settings, and you open that and do a “save as” every time you start a new project.”
That’s exactly what I do: use an empty “template” project with all the bins, project settings, render destinations, effects, and so on already set up, then do a Save As to the name of the new session. There’s a lot of little settings that do not save as part of a project config. -
I just tested this in Resolve 14.1.1, and if I add a LUT to the end of the node tree and turn Key Output Gain down to 0.000, the image has no LUT in it.
The other way you could “theoretically” try this is to apply the LUT, then add a Power Window (any window). Once you’ve confirmed you can see the LUT effect inside the window, you can kill the window by turning Opacity down to 0. 00.
Worst case: figure out what the LUT is doing and recreate it manually with normal curves and LGG controls.
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Every film restoration project is different. You could theoretically attack each shot with separate RGB splitter/combiner nodes and find a way to minimize the flicker on each channel, perhaps using the de-flicker tools available within Resolve (or plug-ins like BorisFX BCC).
In truth, if you want to do this right, I think you need very specific film restoration tools like the ones available in MTI Film, Pixel Farm, Algosoft, or Diament HS-Art. This is very difficult, meticulous, frame-by-frame work that can be challenging and time-consuming even under the best of circumstances.
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Just a shot in the dark: if Resolve will at least launch and show you the Project Database, highlight the bad project and see if it can be exported. If so, export the DRP, label it “Project Name – NEW” or something like that, then import that project and see if it will open. Sometimes this trick works.
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[Shirley Gutierrez] “The business of stacking them on top of each other in one display box is slowing me down and killing my arm. I’m constantly clicking on the wrong curve and bringing it forward. Is there something I’m missing?”
Sure: buy a Mini panel or an Advanced panel, and use knobs to adjust the curves.Note there are pros and cons in working in curves, and there’s often 3 or 4 other ways to accomplish the same visual result.
On the other hand: note there are some very, very accomplished colorists using Lustre every day and color-correcting entirely with a mouse and a keyboard. Some use a stylus, so there is that possibility.
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[Ken Filewych] “Kinda disappointed with this forum – I’ve posted a few times and crickets. I really love Resolve and want to use it in more robust circumstances while editing (for my features or drama episodic) but the lack of proper audio exports and lack of support from anywhere has turned me right off again…”
The reality is that there’s always issues with getting edit lists from picture editors to sound editorial. For a lot of films, they completely dump all the editorial sound decisions and start over from scratch, using just a rough mix from the picture editor as reference.You can recreate an entire Pro Tools session from an AAF from Avid or XMLs from Premiere or Resolve or FCPX by using 3rd-party tools like Comformalizer or Virtual Katy:
https://www.thecargocult.nz/conformalizer.shtml
https://www.virtualkaty.com/These programs are not cheap, but many sound re-recording companies I know in LA use them every day, and many could not do their jobs if they didn’t have them.
I do think once Fairlight is 100% there, it will be a serious, serious contender against Pro Tools for a lot of users. I could literally see some sound mixers buy Resolve solely for the Fairlight capabilities and never even tough the color features. It will eventually be there — particularly when the accelerator cards and mixing panels are available.
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[Tom Knight] “How can I check in the media pool whether a clip is already an organized media or not? Is there any way to mark theese clips? As automatic as possible?”
You can tell if the clip is used in a timeline by enabling the “Usage” column in the Media Pool, then highlighting all the media, right-clicking and choosing “Update Usage.” This will tell you how many times a clip has been used in the project. If the column is blank, it’s not currently being used and can (theoretically) be deleted without affecting the project.