Marc Wielage
Forum Replies Created
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Alexis Van Hurkman (who wrote the Resolve manual) has a very good series of Resolve 12 & 12.5 editing tutorials on Ripple Training:
https://www.rippletraining.com/product-category/davinci-resolve-tutorials/
I would also recommend Mixing Light as having several different series of tutorials at different levels of expertise:
Paul Saccone from Blackmagic Design also has an excellent book on editing on Resolve 12.5, 90% of which is applicable to Resolve 14:
The free Resolve manual also has hundreds of pages on importing, conforming, and editing.
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Mixed framerates are bad.
My workaround would be to have them reconform the entire project as a 29.97 project and render all the 23.98 material as 29.97 with 2:3 pulldown inserted. If this is for broadcast, it’s pretty much going to air this way anyway.
Another workaround would be to have the Premiere editor render out a flattened file at the delivery timecode rate, then just auto-scene-detect the file in Resolve and work on that. (This is very typical for fast-turnaround reality shows.)
Have I mentioned that mixed framerates are bad?
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If the VFX files are DPX, then there’s two utilities you can use outside of Resolve to change the timecode:
https://pomfort.com/dpxheadereditor/
https://www.softpedia.com/get/System/File-Management/DPX-TimeCode-Editor.shtml
If it’s ProRes 444 on Mac OSX, then Digital Rebellion’s Pro Media Tools will let you change timecodes:
https://www.digitalrebellion.com/promedia/
The brute force method would be to re-render out the files with the correct timecode, or you could pummel the VFX people into matching the precise timecodes of the original files.
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What is the final delivery format for the project? Traditionally, the way to figure out workflow is to start from the end and work your way backwards.
There are some good reasons where you could just do all the final assembly and color in Resolve, render a flattened textless version, and then only use your editing platform for titling, adding sound, and the deliverables. We’re getting pretty close to the point where you could do all of the final in Resolve.
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[Aleksandar Djordjevic] “But when I export to .MP4 with h.264 there are always one “media offline” frame. I try to render that project again and again I got the same issue but in another clip. Every time I render that project I got that one “faulty” frame but every time it shows in another place (clip)”
I wonder if the problem could be that all Long-GOP formats have issues with frame boundaries because of how the file is stored in packets (interframe coding vs. intraframe coding). I bet you’ll never see that problem from an intraframe codec like DNxHD or ProRes.My advice for a workaround would be to render our to DNxHD as a mezzanine format, then convert that to MP4 as a second step.
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Glenn is 100% right. Read p. 572 of the Resolve 12.5 manual: “Limitations When Grading With the Viewer on a Computer Display.”
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Don’t try to judge color and brightness on the GUI monitor. Use an external calibrated display, and use a color-managed signal out of a Blackmagic Design video output. This will give you much more reliable results.
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XML doesn’t keep track of what LUTs or other similar adjustments you make, so you’re basically screwed. You’ll have to reimport the LUTs and just do the correction over again.
What I would suggest as a workaround:
1) just export a flattened file with the baked-in correction from Premiere and use Resolve to do touch-ups
2) export a temporary version with the look in it, then use that as a visual reference to recreate the same look (or just a starting point).
There’s nothing in the so-called Technicolor looks that you can’t already recreate with the controls provided in Resolve, given enough time and experience. You could in theory bring in those styles in Resolve and then just match them to what you have.
In the real world, we frequently throw out the temporary look used during editing and just come up with something “similar but better.” In some cases, we have lucky accidents where we’re able to create something different but better.
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The best workarounds I can think of to avoid having a LUT affect the scopes would be two ideas:
1) use a LUT box to feed the monitor, so the LUT is just in the monitor and not in Resolve itself
2) use external scopes (like UltraScope or Scopebox), looped through the monitor, so you’re basically seeing the exact same signal displayed on the monitor — not the signal inside Resolve.
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Note that Blackmagic Design now can certify trainers who have gone through Blackmagic’s own programs for Resolve Color and Resolve Editing. I would expect the major training people (in person and on the net) will be certified, once that widely rolls out in the next couple of months.