Marc Wielage
Forum Replies Created
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There is no real difference between 2.39 and 2.35 — we’re talking 6 pixels top and bottom, not enough to matter. My advice is to just use 2.39 if you have to deliver to both theatrical and home video and live with it.
A 2.39 delivery should be 2048×858, which is pretty standard for 2K theatrical. I have no idea where the 585 is coming from. At worst, you could change the project settings to a 2048×858 timeline and set the render options to Match Timeline Settings for no surprises. Be sure to remove all letterbox blanking during the render.
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If the Reel Names are empty, you can try changing the Attributes so that the default Reel Name is taken from the File Name:
Reconform and see if now all the correct clips are found. And do yourself a favor and beat the editor senseless for not using Reel Names to begin with. The conform section of the Resolve manual is critical knowledge.
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Get the specs from the distributor first, and make sure all your deliverable files (sound and picture) meet the contract.
When in doubt, hire an experienced post supervisor who has been through this before. The choice of aspect ratio may be dictated by the distributor — there are some cable channels that are reluctant to show 2.40 letterbox and demand 1.78 HD.
A book could easily be written on the complications of workflow for a complex feature. Even a simple feature is not so easy.
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I’m not convinced Florian’s drive is fast enough, either. You’re going to need a reasonably fast RAID to get decent performance even out of HD. A stock USB3 drive will not be fast enough. Run the Blackmagic Speed Test app and see how it looks.
You would also get faster performance from a better GPU graphics card. My advice would be to do the transcoding yourself. DNxHD 175x should be more than enough for your camera source material.
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“To Backup Project” creates bigger files and takes longer.
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User Preferences -> System -> uncheck “Show Multi-User Login Window.” I’m so used to it, I just leave it there and live with it.
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I use iStat and MagicMenu to keep track of internal machine temperature and the CPU/GPU load. If you avoid rendering until the machine is below 100 degrees, it can generally get a reasonable way through it before the glitches start — on my specific machine. I’m also running external fans and using iStat to turn the internal fan on max.
Very heavy workloads, like 4K with TNR and blur modes, prevent me from doing more than about 10 minutes at a time, sometimes less. This forces me to render out in chunks and then reassemble them later on. HD is rarely a problem. The glitches typically happen when the machine goes past 133-134 degrees, but it’s sometimes unpredictable. I find it helps to have zero background activity other than Resolve running.
This is under OSX 10.10.3 and Resolve 12.1. If OSX 10.11 solves the problem, I’ll consider upgrading.
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Not Change Source Folder. Relink: page 217 in the v12 manual.
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Varispeed files are even more problematic. In the past, the only solution was to eye-match the shot and change the speed by hand.
The alternative is to have the editor transcode the material to a timecoded format at the native project frame rate (say, 23.98fps), and those files will relink and can work in an XML just fine.
DSLRs are not ideal, partly because they generally shoot H.264 files, partly because they rarely have timecode, and partly because they’re almost always 8-bit. To me, these are all good arguments for shooting on cameras specifically made for motion picture production. Even inexpensive ones like the Blackmagic Ursa Mini do pretty well. Otherwise, you have to live with the limitations and come up with workflow workarounds.
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What happens if you Relink and point the missing file to the folder that contains the actual file? I’ve done this with hundreds of files in the case of projects that were moved to other drives, and it can work. It’s much better in Resolve 12 than it was with v11.
