Marc Wielage
Forum Replies Created
-
The other problem is that many LUTs are destructive, in that they clip the whites and blacks in a way that nothing can be recovered from them later on. For this and other reasons, I’d rather avoid LUTs in my workflows and instead come up with a more graceful kind of correction that doesn’t slam the whites and blacks so hard, even for dailies.
I sympathize with the o.p., particularly if you’re using a new camera for the first time and you’re trusting the operator to know what he or she is doing. I’ve been on shoots where we were suddenly surprised with a new camera and things went into unexpected, unanticipated directions…
-
The differences will be more apparent (and measurable) if you use SMPTE bars and/or a full-screen grayscale and check the scopes. This will give you the clues towards the workflow you need to follow.
-
The best possible machine to use will be a desktop Mac with tons of RAM (16GB or more) and very fast GPUs. Laptops and iMacs won’t cut it. The mid-priced 6-processor Mac Pro with dual D700s would be a bare minimum, in my opinion.
-
The Raw settings only work with Camera Raw files. What specific file type are you using? If it’s transcoded, then Raw won’t work. But you can still get lots of range out of the settings within Resolve, depending on how the transcodes were done.
-
Wow, this question keeps coming back. Export your material with 5 seconds of SMPTE bars and 5 seconds of 10-step grayscale at the head, then look at the renders on a scope (and a color-managed display). See how that looks.
I have worked with both DNxHD 220X (for 29.97 broadcast shows) and DNxHD 176X (23.98 delivery), and it actually goes out pretty much identically to what I see in Resolve. Bring the file back in and A/B both in the same timeline on the same scope and monitor.
-
That totally sucks! Wish the AC much luck on his next job.
I hope you guys can find a way to salvage it somewhat.
-
If I can make a suggestion: always, always, always do a workflow test prior to starting a project, and take the shot through color-correction and sound to make sure a) it looks good, b) the levels are right, c) all the metadata is there, and d) it stays in sync with sound.
Once the levels are clipped and crushed, they’re gone forever. You can make it better, but you can’t get back the full Log range no matter what you do when the look is baked in.
-
Wow, here’s a 2-year-old thread back from the dead.
I think the HSL keyer in Resolve could be improved, but it’s actually been pretty good since v11 (released after this discussion started). The daVinci panels have uses above and beyond just the keyer — I can typically work at least 20% faster on their panels than anything else.
I’m sure that performance will improved even more with v12.
-
If it’s just three clips, what happens if you manually conform them?
-
There will be a way to use a separate computer to handle renders with v12, allowing the other computer to continue working on other projects. But that means buying a second computer.