Marc Wielage
Forum Replies Created
-
There should be no difference in video levels between ProRes 422 and ProRes 444. Render out bars and a 10-step grayscale and check them on scopes. And check the difference between Video Level and Data Level.
Note that you can always finish within Resolve with audio.
-
Eye-matching is the only solution I can think of. There are some mistakes from which there is no easy recovery.
-
What source material? What output format? I just did a test render in 12b4 today and it worked for me (on a nMP OSX 10.10.3). 99% of what I do is always single clip.
-
I think it would be a whole lot easier to do the transition in the edit page from two sets of rendered images. The V1 level would have (say) normal saturation; the V2 level would have increased sat. Drop in an Edge Wipe transition, adjust the timing so it starts and end when you want it, add a border — done.
I think trying to do this on the Color page would be way, way too much trouble when you could do it in seconds in Editing.
-
Check to see if the blanking controls in Output Sizing have shifted beyond the defaults. Also, under Color -> Output Blanking, you’ll see various presets. Choose the one applicable to your specific aspect ratio, and the blanking should go away. (I’d love to see a “none” choice here, but I’ve had no luck with that suggestion so far.)
-
Yeah, I got hit with some QuickTime Animation VFX shots the other day, and Resolve just groaned. You can convert them within QuickTime to ProRes 444, but I’m amazed anybody is using Animation for anything these days. DPX or EXR I can totally understand.
-
My guess is that they’re using swap files in RAM, just writing all of what’s there to the drive. I’m not sure if they create a Delta that’s just the difference between the currently-saved file and what you’ve recently changed.
If you counted all the possible parameters that could be changed in a single shot, I wouldn’t be surprised if that number is in the millions.
-
There have been times I wish there was a mode that says, “Don’t Save If the Cursor or a Control is in Motion.” If the panel is inactive for 5 seconds, sure, go ahead and save. I’ve noticed that large projects with tons of stills, tons of media, and tons of timelines take much more time to save than relatively cut-down sessions. This is yet another reason why I tend to break features up into reels, and sometimes into sessions (part 1 session, part 2 session). One project with 5TB of files and 19 timelines… that’ll be rough.
-
[Michael McCune] “So a sequence could be made exclusively of many of them– all dynamics and no statics– right?”
You could do that if you wanted. All this is covered in the v12 manual, pp. 926-943. I actually know of colorists who always use a dynamic keyframe to start AND end a dynamic, just on the possibility they may need to add a third one at the end. I’m so used to using “Start” and “End” keyframes from other programs, I just do it that way and live with it. -
[Michael McCune] “I believe NAB rules say something about new product ship dates–within four months???”
I don’t think that applied to the Red camera.