Marc Wielage
Forum Replies Created
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How is the monitor calibrated?
My opinion is that the Dreamcolors are not good enough for color correction, but that’s me.
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[Joseph Owens] “Resolve is very much like Final Cut 8. “
I just did a spit-take! That’s the best laugh I had all day, Joe. (And it’s hard to laugh when it’s damn near 100 degrees in LA at the moment.) -
Even with an AAF, speed ramps do not translate correctly. For me, it’s been hit and miss on speed changes overall, but I have seen it work on occasion. Repositions can work perfectly provided they’re editing in the same resolution as the Resolve timeline settings.
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That’s correct: as far as I know, speed transitions generally do not translate between any editing programs. That includes Avid, Premiere, Final Cut Pro, and Resolve. You have to either export a transcoded file with the speed change baked in, or you have to manually recreate the speed change by comparing it to a reference video.
I have seen repositions (even dynamic repositions) translate fairly closely, but not always.
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What is the resolution of your source material, and what file type are you using? Is it progressive or interlaced? What are the project timeline settings?
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As I understand your question, Chris, no, it’s not possible to do that. Avid cannot read the color corrections from Resolve. You need actual color-corrected media to reimport into Resolve. You will need to export high-res color-corrected files from Resolve (which are large, but that’s the price you pay for high res), import them back into Avid, and then relink to those files.
The alternative workflow would be to export flattened media so the entire project is basically one file, or maybe a half-dozen files (or whatever makes sense for the given run time). Often for TV series, we get textless material for color-correction and export the show minus any titles, then the online editor (aka “finishing artist”) drops the titles and/or VFX and sound back into the show and then exports the entire thing as a finished file.
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This is covered extensively in “Importing Projects and Relinking Media,” pp. 596-659. That’s a pretty critical part of the 12.5 manual. But yes, relinking to camera original files from an edit list done with transcodes is a basic part of conforming.
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I generally only use the Offline Reference feature for picture, not sound. If I needed to hear the sound, then what I would do is pull out the WAV file from within the Reference image as a separate file, then bring that into the timeline and drop it into an unused track. If I needed to hear it, then I’d turn off the other tracks and just activate the Reference audio track.
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[Geoff Johnston] “Does anyone have an answer to this? I’m currently doing a project with a huge amount of nodes, and it’s a traumatizing experience having to change the output gain on every single node separately. It seems like I shouldn’t need to do this, given how advanced this program is.”
If I understand your question, the answer is no — you have to adjust the output gain on every single node separately. Me personally, I just look at the end result and then make an adjustment if necessary. Not every node is a key; not every node needs a key gain adjustment. There’s also Primaries, Secondaries, Log adjustments, Contrast, Curves… there’s a lot going on here. It’s a huge subject.Just as with slowing down a car, there’s probably 5 or 6 ways to do it, but generally using the brake works well for me.
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If you have Resolve Studio, you can use the Motion Blur effects in the Motion panel. But this is a Studio-only feature. Page 938 of the 12.5 manual covers it.