Marc Wielage
Forum Replies Created
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It’s interesting to note that the cost of Fusion Studio is still $995.
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What is the source material? A lot could depend on your specific settings, but the files should look the same on the Edit page as they do on the Color page.
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Sadly, quite a few of the Fairchild parts of the Resolve manual are blank. I’m sure the manual will expand once the program is finalized in a few weeks.
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This is the blind leading the blind. There are way, way, way too many people claiming to be able to “train” others. I don’t think most of the free tutorials on YouTube are worth what you pay for them. The danger in believing these morons is they can steer you right off the cliff — many of them have no clue what they don’t know.
I don’t have a problem with somebody running down a new feature list. In truth, a lot of Resolve 14 is pretty much like old Resolve, but there are a few significant changes. The fact that they rushed it out with an unfinished manual tells me this is very, very Beta-ish. My guess is we won’t see a final version until late June/early July.
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Michael, one thing you can always do is have the VFX people send you the shot as a layer with an alpha channel. If you do the key yourself, you have control over foreground/background color. The alternative is to have them provide external mattes, which will let you grade separate layers in context.
But all things considered, I’d rather they just use a viewing LUT, which works very well.
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Too soon. Give it a couple of months. For now, start reading the new manual (which is free).
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[Matt Dunne] “Our original footage is 8K from a red weapon so storage and processing power were obviously a concern so we worked with 1080p proxy files. For each clip the footage was brought into an 8K pre comp and that pre comp was worked on, the theory being we could swap that pre comp out with the red files and not have to reposition anything. We tested this with the raw files and it worked like a charm.”
I think 8K is way, way overkill for this if you’re just delivering 4K. Consider transcoding the material to 4K for the VFX path, figure out a reasonable viewing LUT for the VFX department, and have them use that during the compositing process and then remove the LUT when they render the final files for color. This method can work.I’d refer you to the VES HANDBOOK OF VISUAL EFFECTS PROCEDURES, which goes into several different potential workflows for different processes and source formats:
I would agree there’s a variety of methods that can work, but I’ve also seen VFX workflows go horribly wrong. I was on a pretty big project a few years ago (one of the NARNIA movies) where six or seven different VFX houses each kind of did their own thing, and every single shot looked different from the shot before it. It was a bit of a nightmare in post, but the final colorist was able to smooth everything out. In a perfect world, this would’ve been addressed earlier, but this is the kind of thing that happens when 200 new shots come in a week before the film gets released.
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iZinsight I believe is part of the iZotope plug-ins for the meters they have. De-install that whole package and see what happens.
Plug-ins are always dicey — I’ve seen some that bring down Pro Tools as well. In some cases, it’s a question of which version of program & plug-in and operating system all happily work together. Drivers can be a big issue, too.
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Timeline View Options:
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I would not be surprised to see a “Post-Production Suite” offered with Resolve, Fusion, and Fairlight” at some point. Anything is possible.
