[Marc Wielage]

I think you can still white balance with the primaries, but I have to admit, I miss the Big Curve Window mode from v11. I suspect a combination of desat curves and primaries will get you where you need to go.

[Marc Wielage]

[Michael McCune] “1. Set In/Out points with keyboard i/o keys as in the Edit and Color pages;
2. Carry Edit page and Color page In/Out settings over to the Delivery page;
3. Retain Delivery page In/Out settings after bouncing back from other pages;
4. Actually show Data Burn-in in the rendered output (it seems to display in the Delivery video window but does not seem to survive the render process).”
I just did a data burn-in over the weekend for a temp file, and it absolutely does stay in the rendered output in v12 (at least for ProRes). I also just checked and “i” (by itself) will mark in and “o” (by itself) will mark out. This is v12b027.

What bugs me about the Deliver page is you can’t hit Home or End to get to the first frame or last frame of the timeline. I agree, I wouldn’t mind the In and Out points being retained from the Edit page. To my knowledge, we haven’t ever been able to mark In and Out from the Color page; Mark In and Mark Out are grayed-out in the Mark menu.

[Marc Wielage]

If I understand you correctly, your DP has a Resolve system and you have a Resolve system. If this is the case, then he needs to export a DRP (daVinci Resolve Project) session, copy that to a drive, and then you need to import this DRP file. This is the database that holds all the color corrections, edit decisions, stills, and so on for a Resolve project. The XML only holds repositions, speed changes, limited audio changes, and edits (as far as I know).

[Marc Wielage]

Alt/option mousewheel only zooms in on the Node window, as far as I can see in v12.

[Marc Wielage]

You’re talking about the glitches at the bottom of the Keyframe window?

[Marc Wielage]

The sooner you start, the faster it’ll get done. It’s not that hard. I’ve done interview shows with 800, 900, 1000 cuts in a day. All you have to do is get the hand/eye coordination down.

[Marc Wielage]

[Vladimir Bibic] “My goal is just to select all the takes from the same scene and apply a basic grading to all of them. My edited scene is very cut, so I have all those takes split in many many clips everywhere on my timeline.”
Well, that’s basically the process of color-correction: apply the right correction every time it’s necessary.

One possible way to do it automatically would be to sort all the clips in the timeline in camera order, so then all the clips shot about the same time will all be sorted. Then, at least grouping all the common shots of the interview subject are easy.

The way I do it in interview documentaries is just to heavily use the Lightbox and the memories, and whenever (say) Mr. X comes up, I know his correction is in Memory D. Whenever Miss Smith comes up, I know she’s in Memory E. And so on. It’s not that hard, even when there’s a dozen or more people. The Lightbox will also let you see similar shots at a glance and pop those up very quickly, then apply the same correction used dozens or hundreds of shots before. It takes less time to do than it does to describe the process.

[Marc Wielage]

Groups will do it. Command-click (on Mac) or control-click to select multiple clips. then right-click to create a new group for these clips. Apply the Powergrade… boom, all the clips will have the same exact correction. (Pp. 795-802 in the v12 manual.)

Be warned that I find often, the look of a shot has to be changed when the shot that comes before it is substantially different (like much darker or much brighter). The exact same look might not be appropriate, so be prepared to take the shot out of the group and try a modified look.

[Marc Wielage]

[kathrine grams] “I manage to set up the project fine. But when I look through the offline/raw material in Edit and the cursor reaches a certain timecode (always the same) the two windows “freeze” on the current frame. After this the windows won’t ‘update’ when I move the cursor around on the timeline.”
What kind of file format are the clips? What kind of system do you have? How much RAM, what OS? Which GPUs?

I’d wonder if there may be come inherent corruption with the clips that make them unstable in some way. What’s the specific timecode number that gets hit when the program crashes?

[Marc Wielage]

[Joseph Owens] “Thats true, but you will eventually run up against the roadblocks that Apple has put up, and uncrossable bridges that they have burnt.”
This is very sadly true. Eventually, you get pushed into unexpected upgrades if you hold onto hardware longer than a certain period of time. Just a fact of life. As long as you party like it’s 1999, you’ll be fine… with 1999 software and operating systems.