Marc Wielage
Forum Replies Created
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The Red Universe Distort “Camera Shake” plug-in will do this very well, and you can randomize and keyframe it to a point.
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The export should work provided the destination and file name are legal. I’ve never had a problem except in cases where the drive suddenly wasn’t connected or something like that.
I routinely save daily DRP files and then I manually date them so if I’m working on a project for a couple of days, I can see “MyProject_4-18-2016, MyProject_4-19-2016, MyProject_4-20-2016,” and so on, just in the unlikely event I have to roll back. You could also export XML and AAF files for the edit lists. Again, if the destination drives are kosher, it should work.
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I believe this is courtesy of Rob Bessette:
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That’s a drag! I’m sympathetic.
There’s a lot of potential red flags here:
1) you will see a lot of advice on this and other Resolve user support groups, but one primary one is backups are important. When I’m working on a longterm project, at the end of each workday I take time out to export a DRP session file to a separate drive, just in the (very unlikely) possibility that the session goes bad, gets corrupted, or my main scratch drive goes bad. I’ve had to use these backups maybe 3 or 4 times in 10 years, but it happens.
2) my personal opinion is that laptops are a bad choice for Resolve. BMD has their system requirements on their website, and while some recent laptops can barely handle the software, my experience is that it’s slow and sluggish. You’re better off using a machine with very fast GPUs and very fast external storage, like a RAID.
3) it’s possible the project is still there in the directory but got subtly corrupted in a way that makes it unreadable by Resolve but salvageable in the operating system. I would call BMD telephone support and get them on it ASAP. They’re usually very good in emergency situations like this.
4) there’s a lot of things you can do to make long-term projects manageable. One I do is, if it’s a feature, I generally (but not always) will chop it up into 20-minute reels, just to help save/load times. This also helps in cases where the editor needs to make changes, which affect the conform. Week-to-week, I tend to make more than one copy of the original file, so I might have “Big Movie – Week 1,” “Big Movie – Week 2,” and “Big Movie – Revised,” knowing that we need to work on the most current version. As we throw out old timelines and replace them, I eventually wind up with “Big Movie – Final,” which only has the 5 or 6 timelines that make up the final approved movie. When different versions are required (say, a letterbox version vs. a pan/scan version), I’ll do another save-as and create “Big Movie – Pan/Scan” or whatever. Same color, different framing. In some cases, certain details change with a 4K delivery vs. an HD delivery, so there might also be “Big Movie 4K.”
While Resolve shouldn’t ever corrupt projects, bear in mind that sometimes it’s the operating system’s fault — not your fault, not my fault, not Resolve’s fault… just one of those things. All you can do to ward against it is backup. Take my advice: computers are inherently evil and you can’t trust them, not ever. Always check this stuff and take nothing for granted.
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You can buy film light-leak and burns as files and then composite them in as layers, which will duplicate this effect pretty closely:
https://cinegrain.com/
https://gorillagrain.com/
https://www.rgrain.com/
https://www.crumplepop.com/
https://indieessentials.com
https://www.filmwash.com/shop/
https://vegasaur.com/film-grain
https://filmlooks.com/
https://www.fxphd.com/store/stock/scratchfx-footage-bundle/
https://www.artbeats.com/collections/638-Film-Clutter-2-HD/info [costly]Each of them has pros and cons, but I generally find I return to Cinegrain most of the time. Crumblepop, FilmLooks, and Indie Essentials have some good damaged film bits, as does Warren Eagles with his ScratchFX bundle on FXPHD.
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[Geoff Johnston] “Is there a “Master Gain” control for adjusting the Output Gain of the Master “Node(?)”? In other words, can I animate the gain on all nodes at the same time?”
You could if you add a 5th serial node at the end of the tree just for keyframing gain. Or do it as a Timeline grade.Is this a trick question?
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Naaaa, the nMP glitches are horizontal lines. Once in a blue moon, half the picture disappears, sort of an inverted contrast thing. This looks like severe compression artifacts to me.
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It sounds to me like a particularly nasty corruption within the project. I had a Resolve 9 project go south on me a few years ago, but in that case I was able to export all the stills and those actually worked. The node trees themselves would crash, and ColorTrace would crash if I tried to copy across more than about 10 shots at a time. Eventually, I just retimed the project from stills using the embedded corrections, and I think it took me about half a day. This problem went away with Resolve 10 and later.
My only advice is that when you’re working on a project, be sure to export a copy of the DRP every day just in the event something crashes. I have not had to use any of these backup sessions in 3 years, but crap can happen, particularly if it occurs on an operating system level (like a bad drive).
The other advice I would have is to contact Blackmagic Support and see if they can look at the file and salvage anything there. What version of Resolve is this?
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There are situations where Shot Match will not work, particularly if the shot is substantially different from the shot to which you’re trying to match. Pages 664-667 in the manual cover it pretty well.
There are also a lot of artistic considerations involved where a perfect technical match doesn’t necessarily compensate for the lighting or angle involved. For this reason, colorists often have to use secondaries, windows, curves, and keys to get the two shots in the same general area.
Shot Match can work (though I’ve never used it) if you have two identical shots shot in the same place with the same person, only in one the lighting has changed. In theory, Shot Match could get you in the ballpark, but it won’t get you all the way. I find it faster just to turn the knobs, use the scopes, and use my eyes, comparing a reference still. Time and experience will eventually make the process go faster, but some situations are always open to interpretation and nuance.
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What format is the source footage? There have been reports that some H.264 material comes in a frame out.
I have honestly had very few problems with XMLs or AAFs from current Premiere or Avid after 8.0 coming into Resolve. The exception would be speed changes and dynamic repositions, but even those are better than they used to be.
