Marc Wielage
Forum Replies Created
-
Naaaa, I’m talking about auto-scene detect as I used it on TUESDAY. It’s the same crap. I’ve done 40-50 films with it, and it’s not changed.
The XML trick can work, but if you accidentally wind up with (say) 20 cuts in a single scene, it’s irritating to get an error message when you try to join those cuts together. You can do it in some cases with an XML list, but not from a cut list if you’ve pasted all the clips to a timeline. That’s the behavior we’re talking about.
BTW, I also routinely cut clips in the Color page by using command-\, which is a useful shortcut when encountering scenes that need an edit. But the join command rarely works, and this issue has existed for awhile.
-
[Joseph Owens] “I’m not a fan of Scene Cut and haven’t been since 1995. You still have to go in and manually check all the cuts and there is no provision for repairing bad decisions that the software has made once the import is complete. What might prevent this from working is that Resolve treats the scene detected events as separate clips (understandably to create some independence from the “Master”), but then you are ham-strung in the same way that there are no “handles” to create correction transforms between composited or effect transitions — you’re in keyframe mode which may or may not be okay.”
There is a workaround where if you bring the split clips into a timeline, then export an XML of that timeline, then create a new timeline with that XML, I believe the cuts can be joined if there’s a mistake. I agree that the whole split/join thing is a problem with auto-scene detect.It would be nice if we had more controls (as with daVinci 2K) to change some of the scene-detect characteristics to make it more accurate and get tripped up less often. After all these years, it still has issues with fade-ins and fade-outs, creating about a dozen unnecessary events in those circumstances. I’d also like to be able to highlight (say) a :30-second clip on the timeline and have it just scene-detect that clip in place.
Auto-scene detect is kind of a brain-damaged function: you can’t even save the Resolve session when it’s open. Nutty.
-
I believe DTS has to be specifically authored at the Blu-ray mastering stage. It’s not an exportable format from any editing program.
-
BTW, I do agree that there were good aspects of the “enlargeable” curves editor in previous editions.
-
[Bryan Dale] “I am trying this in Resolve 12 and can’t seem to import Jpegs. They are greyed out when trying to select the files in the import dialog and it doesn’t seem like there isn’t an option to choose the format type on the bottom like in previous versions. Any ideas? Thanks!”
You may be making this more complicated than it needs to be. I’ve had no problems bringing in TIFFs, JPEGs, PNGs, anything, provided it’s the right resolution. I don’t bring a file in with an Import dialogue — I just open the drive in the Media Page and drag it down to a bin.If you’re trying to use it as a Gallery Still, you can select ALL FILES as an option in the Import Stills dialogue box and get to pretty much anything you want. I just checked and JPGs, PNGs, TIFFs, everything was there. So you can either add the files as single-frame images into the Media Page, or import them in as 1-frame Gallery stills. Note that this is all done through the expanded Gallery page widget on the Color page.
-
That can work. I would test the workflow first and make sure you’ll have the range you need to correct the image, particularly in wide dynamic range situations (like very bright highlights or crushed blacks).
Bit-depth often becomes a bigger issue, particularly if you’re dealing with 8-bit images. If you’re dealing with 10- or 12- or 16-bit images, then there should be no problem provided the system and display can handle them.
-
The Timeline itself determines that resolution. You can create a 4K timeline, then monitor it at 1/4 or 1/2-res and downres it to a 1080 display for color correction, and that can work. If you have a system powerful enough to playback at 4K in real time to a 4K display, then that works, too, provided you have a BMD 4K monitor adapter.
-
Is timecode embedded in the DPX files? If it is, then it should be possible to rebuild the cuts.
Color would have to go through ColorTrace, and it would only be approximate if you color-correct with anything but the DPX files. How long is this clip? Some of this could be done manually without a lot of trouble. DPX is fairly system intensive, and I usually tell clients to go with something a little less demanding, like ProRes 444 or 444HQ.
-
They may also be using a bit of filtration on GIRLS, like a 1/4 Black ProMist or something to soften the look and glamorize it a bit. You can do some of this to a point with OFX filters in Resolve (or any other full-featured color-correction program), but a lot of it is truly the lighting, makeup, art direction, and costuming. That having been said, I’m a big fan of the Tiffen GlimmerGlass filter (both the actual filter for lenses and the plug-in).
-
Unless all the grades are bypassed within the session itself, I have no idea. You may want to send the session to BMD Support and see what they say.