Marc Wielage
Forum Replies Created
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[Glenn Sakatch] “The timeramps are quite basic. (although their optical flow is very good) Try building any kind of curve in a time effect, or worse yet, modifying one that came from another program.
I haven’t used it for editing audio, but have heard some horror stories. (can’t hear audio unless you are in full playback mode??? is that still correct?)”
I believe all these problems have been addressed in Resolve 12, due out in July. -
See “Using Remote Grades,” pp. 777-785 in the v11 manual. I personally just grab a still and then copy the grade from that. Sometimes in context, you don’t want the exact same grade, particularly if the new shots before and after it change the flow of the scene.
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One problem with the ripple function is that there’s no Undelete. This is a prime reason for using Groups, because at least then if the client asks for a change to be applied to a long group of shots, you can make the change Pre-Clip or Post-Clip, then if they change their mind, you can quickly and easily make the change.
In the old days with daVinci 2K, we’d have to routinely save a copy of the session and then do a ripple function. That way, if the client changed their minds, or we went too far with the ripple change, we could always go back to the previous session file. But that’s a clumsy way to simulate an Undo.
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I don’t believe the Pantone will be enough to calibrate a monitor for Rec709.
Read Steve Shaw’s technical reports and explanations on his Light Illusions website:
https://www.lightillusion.com/why_calibrate.html
Be aware that even with a great monitor set up in Rec709, it’s difficult to get a small monitor to duplicate the experience of seeing a large screen theatrical projection display in P3 color space. Just the sheer size and the lower brightness levels are hard things to compensate for.
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Select the clip in the edit point, right click to bring up the Clip Attributes window, and change the playback speed to 24fps. You may need to go down to the edit timeline and extend the length of the clip, because it’ll now be roughly three times longer within the timeline segment.
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[stig olsen] “When loading material from the BMD 2.5K camera shot in raw into Resolve, the files are totally blown out. They are easy to recover by pulling down the gain control, but I find this strange. “
How is your exposure set up in the Camera Raw Project controls? If you have an excessively high setting, this could conceivably clip out the whites. I routinely drop the master project settings down a notch just to avoid this problem with all raw formats — for example, I’ll knock 800 ISO projects down to maybe 500 to salvage the whites. If they’re really underexposed, then I’ll go in and manually bring them back to 800 if necessary. -
Yes. Assuming you’re dealing with Raw files, create a new node, then select the Camera Raw screen mode, go to Clip, and then change the color temperature as needed. I personally like to adjust the camera raw settings as the very first node (or even in a Pre-Clip group), but that’s my preference.
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Here’s the one for Resolve 10:
https://update.blackmagicdesign.com/media/6949179/DaVinci_Resolve_10_AvidArtistColorPanel.pdf
I dunno if they ever did one for Resolve 11 (or 12).
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Check the clip attributes and change them to the timeline speed. That way, a 30fps clip will be forced to 25fps (assuming that’s the timeline speed), and a 240fps clip will also be forced to 25fps.
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No problems with subtle level changes here. Maybe I’ve just adjusted myself to the knob’s ballistics. Over time, you can instinctively react to the knobs, like the difference between power brakes and manual brakes (assuming anybody remembers a time before power brakes).