[Marc Wielage]

[jabbar thomas] “I have been asked to take a look at his cut and make some changes. I don’t know Resolve as an editor. Can I please get some information on “Copying”, “Streamlining” or “Archiving” all of the media that is in his Media Pool? I also would like to transcode the copied Media from 4K to a more compact format such as H.264 at1920x1080.”
The Media Management section of the manual will help you archive copies of the original 4K project files. I would suggest not archiving in H.264 or HD, but instead stick with the original 4K format for the best possible quality. Hard drives are cheap, particularly if you’re just looking at 2 hours or so worth of 4K files. At most, it’ll be 4TB or 5TB of camera originals, and that only costs about $150 to store these days.

[Marc Wielage]

It’s not a problem if you just fill in the drive path name. I’ve seen it happen on a lot of systems, particularly when you move a session. Just fix the drive/path name in the User Prefs, reboot, and you’re set.

[Marc Wielage]

[Duke Sweden] “4 1/2 years later and still the same problem. Why don’t you just fix it?”
You mean, you still haven’t set a default path for your Media Storage in User Prefs?

[Marc Wielage]

If you do (say) a 1920×1080 project with 2.40 blanking, you could always choose to render it without blanking at 1920×800. This will give you the same visual area, but with no pixels wasted on blanking. This can work for home video and streaming in some cases.

[Marc Wielage]

I would add that sometimes NR added to the key node will help to a degree. But Hector is right: crappy material (especially 8-bit color) is never going to yield clean keys.

[Marc Wielage]

I would love for JPo’s message to be permanently pinned: he says it all, and he says it well.

[Marc Wielage]

There are some sepia powergrade “Resolve Looks” included for free in the Gallery at the top.

There’s several ways to create a bleach-bypass/sepia thing. One you could try: First node, balance the image overall then desaturate about 50%. Second node, use secondaries to bend or reduce bright blues, greens, or cyans. Third node, bend the signal towards Warm/Yellow/Brown. Fourth node, use as an overall trim.

[Marc Wielage]

I have no problem with either manual tracking or cloud tracking. Once in awhile, I can’t move the Point tracking crosshairs and instead the cursor moves the entire window (which is a problem going back several versions), but generally this gets fixed in an updated version.

Your individual machine, CPU power, GPU power, drive speed, and type of files will all have an effect on tracking performance (and performance in general). The program is not unstable if you throw tons of hardware at it and use reasonable source file formats.

I just finished a 6K Red feature project two weeks ago and I had shots with four simultaneous tracking windows in some cases, plus chroma keys, plus secondaries, often more than 16 nodes per clip. The only time I ever even hit a slow down was with TNR clips, but once cached, they were fine to deal with. This is on a stock Trashcan Mac with dual D700s and 64GB of RAM, and I pre-allocate the max (12GB) of RAM in prefs. No question, the machine is smokin’ hot during renders (with the resultant glitches), but crashes are very, very rare.

My solution to tracking is that sometimes, the Point Tracker is a better choice, and sometimes the Cloud Tracker works better. I often wind up using combinations of manual tracking and autotracking just to finesse the mask and make 100% sure there’s no spill or leakage. Occlusions are always challenging, but there are ways to deal with that quickly. I would point to MixingLight.com (which is a pay site) as having good resources on tracking techniques for difficult color situations.

[Marc Wielage]

[Joseph Owens] “They don’t want to know about the COLOR page. All I have to say is “Color page” and it has the same effect as saying “Frau Blucher.””
Hump? What hump?

[Marc Wielage]

[Simon Ubsdell] “It’s called “democratisation of the tools of production”.”
As we’ve seen over the past decade, one man’s democratization is another man’s destabilization.

I don’t mind lower-cost tools; the problem is when people assume they can also get by with low experience and low money for talent. And this problem has affected production, actors, cinematographers, editors, sound mixers, colorists, and VFX artists. There’s a point where producers need to have realistic expectations.