Marc Wielage
Forum Replies Created
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I agree with Tero above, but I would also be prepared to do a slight touch-up when you see the quad-split in context. Even if you meticulously correct A vs. B, sometimes A vs. B & C & D simultaneously will change your perception in terms of brightness. These “Brady Bunch” split screens can be a nightmare, particularly when the splits are moving. It can be done… it just takes time.
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Try Resolve 12 and see if that improves things.
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The first level of Gallery stills are the MEMORY stills. Page 772 in the Resolve 12 manual. I think Memory grades were a big deal with the original daVinci 888 and 2K, but I think people work many different ways today.
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I have never seen a way to retrieve stills in this way. I think a wiser move before any project is deleted is to save one still per shot (automatic), do that for every timeline, then export the DRP to an external drive as a “double-secret emergency backup.” Once you’ve done all that and you’re certain the project will never come back, delete the original and archive the backup. In extreme cases, I’ve exported all the stills to another drive and included the DRX files, just in case I had to manually restore the stills. It’s been extremely rare that this has ever happened to me.
One ongoing issue for long-term backups: there’s no guarantee that a 4 or 5-year-old backup will be retrievable. The basic parameters from (say) a Resolve 8 session might still work in Resolve 12, but I’d be nervous about trying it.
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No, there is not. In general, it’s a bad idea to try to color-correct with a mouse… but having said that, there are some brilliant colorists around the world that work this way (particularly with Lustre). To me, it makes no sense if a panel is available, and it’s a very slow way of working plus you can’t move two knobs at the same time, but that’s me.
You can switch back and forth between Primary mode and Log mode with option-Z, but that’s not quite the same thing. It would theoretically be possible to use a 3rd party keyboard like an XKeys panel to automatically jump into the numerical window for Lift, Gamma, or Gain, but that won’t let you move the virtual trackball.
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You may be making this harder than it needs to be. If you’re just trying to change the color of the boots, it may be possible that a very loose garbage matte and a qualifying secondary will pull a better key and won’t require you to hand-rotoscope the whole thing. I can’t see the image, so I don’t know what you’re working with, but this is the method I usually use in Resolve. If the boot is the same color as the background, then you’ll have to rotoscope the whole thing. VFX people I know generally use Mocha Pro for this purpose, but there’s a lot of good programs out there. AE would be one possibility.
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Reconform from Bin has always been buggy for me.
My workaround has been to export an XML from the good timeline, then reimport the XML and point it to the camera original directory for a new conform in a new timeline, then use ColorTrace to bring in the old timeline’s color corrections. This can work. The other thing you can do is try Change Source Folder, and then Relink Clips if a few stragglers didn’t quite make it.
The brute force method is to bring in the camera clips in the media page and have them already there during the conform, but I haven’t had to do this in some time. The entire chapter on Conforming (pages 497-558) in the latest v12 manual is a critical one and is worth reading a couple of times.
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This is why great post supervisors get the big bucks.
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I would not rely on anything except a Blackmagic device for video output. Nothing else is supported by design.
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You’re on your own with FCPX. My workaround would be to finish entirely in Resolve.