Marc Wielage
Forum Replies Created
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“and I have notice on some of my past projects from my Sony camcorder which is 1080i mts2 and transcode to MP4…”
Both MTS2 (basically a DVD-compressed format) and MP4 (actually Long-GOP H.264 in an MP4 container) are generally very bad for post. You would be considerably better off transcoding to DNxHD or ProRes for the project.
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It’s covered in the manual. On the Media Page, right-click on the file (in the source drive) you wish to scene detect and import.
I’m not sure which page in the Resolve 14 manual covers it, but do a search for “Scene Detect” (with quotes) and you’ll find it.
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Go to Workspace -> Reset UI and see if that helps.
What screen resolution are you running at the moment?
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Sounds like an interlace problem to me. Long-GOP H.264 is bad for post in general.
There are workflows that can convert interlace to progressive, and I would look into those with a Google search.
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I suspect the 60fps is the problem. Do a test and see what happens with 24fps files.
I would also run the latest BMD Disk Speed Test and see what it says about HFR files. I would also bet that two more-powerful GPUs with at least 11GB of RAM (like the 1080ti or Titan) will give you better results. GPU drivers could also be an issue.
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If you check the TIFF with Clip Attributes, what does the Video Frame Rate read as?
It’s possible there is embedded metadata in over which you have no control. Change them all to 29.97fps and see what happens.
Me personally, I would not drop a 24fps or a 23.976fps film scan into a 29.97 project without having a firm understanding of 2:3 pulldown and so on. Ideally, I’d convert everything to 29.97 prior to import so that I had more control over pulldown and potential interlace issues on cuts within the film.
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The Tangent control surface is controlled directly by Resolve and not by the Tangent software. All you need to do is connect the USB connector, let the panel light up, and then choose “Tangent Elements” in the Preferences panel within Resolve.
They do tell you that you need a very heavy-duty hub in order to provide the panel with enough voltage, and that’s typically where people run into trouble. Contact Tangent Support and they can tell you specific hubs that they know will work.
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Joseph Owens commented:
“I have had a healthy respect for Ikegami cameras and monitors ever since I had to compete against them while doing a stint for a rival Japanese manufacturer. You don’t see them much anymore in the general population, but I have to say that of the larger presences at trade shows, theirs are among the few installations where the monitors and cameras actually match.”
Yeah, Ikegami was great in the late 1990s and early 2000s. I’m not sure what happened to Ikegami in the last decade, but I just don’t see them very often, even at NAB or other trade shows. The color and post industry I see is pretty much Sony Broadcast BVM displays, and often LG OLED for the client.
We initially used Conrac monitors (anybody remember those?) in the 1980s, then Barco. Barco was one of the first companies to make a “large” 25-inch display, and that became very popular. Eventually, Sony came out with a BVM version in that size range and it became the standard very quickly. And by the end of the 1990s, HD started rolling in, and everybody had to invest in 32″ Sony BVM-32 color CRT monitors, which were about $25K. I always chuckle when I see newcomers on the forum ask “what’s the best monitor for $499?”
I agree with Mr. Owens that the forum software is broke/busted.
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I think there are several good choices for color nowadays: Baselight, Lustre, Mistika, Nucoda, and Resolve all have positive points. It’s more about the artist than it is the software.
Ikegami monitors were good many years ago, but I don’t see them very often anymore. To me, there’s a lot of directions you can go in, but the key is that the monitor is calibrated correctly.
I’d worry more about the colorist’s resume and demo reel, and how long they’ve been working. And cost is a consideration, too: as with a lot of things in filmmaking, you get what you pay for.
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Which hardware (CPU, GPU, RAM, disk I/O speed)? What specific version of Resolve? What OS? What source material? What timeline resolution? What framerate?
