Marc Wielage
Forum Replies Created
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[Martin Halm] “the titel itself contains a fade in, which is already rendered in the title. “
In my opinion, you’re better off not rendering the fade-in in the graphic, because this will affect the key clipping. I think it makes more sense to create the transition (fade-in, fade-out, wipe, whatever) in Resolve, or just export the sequence as a flattened file and do the title in your original editing or VFX application. -
See “Using Remote Versions” in the v11 manual, pages 752-754.
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[Joseph Owens] “Or crossing your fingers with a “relative” or “absolute” correction ripple.”
And with the dreaded NO UNDO. There’s a lot of things I don’t miss about the daVinci 2K, and that’s at the top of my list.
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[Joseph Owens] “The Cintel URSA had a built-in correction system that was directly accessible by daVinci (in fact as I recall, there was a version called a “Leo” that only controlled the telecine and had no correction capability itself) that you could do a PEC-match (like a pre-amplifier balance) which could be passed forward to the daVinci color correction system itself…”
I never used a daVinci Classic with a Rank — only tape-to-tape — but I did use Topsy, Amigo, Dubner, Arcas, and several other telecine correctors. It was extremely helpful when we were finally able to control the PEC’s (photoelectric cells), which were essentially the “front end” of the telecine. My memory is that this really started with Rank’s ARCAS color-corrector.The same principles still apply today: balance the signal early in the processing chain, and apply successive layers (nodes) of processing that add or subtract to the image in a logical, predictable way. In general, when I use grouping, I wind up using Post-Grade most often in a sequence. For example, if a client says, “I like the scene, but it needs to be darker and more green), I can do that in about five seconds. As long as the scene already matches, the Post-Grade correction should “in theory” apply in a uniform way. (Except on the occasions when it doesn’t.) Pre-Grade is more unpredictable but useful in some applications, like when you haven’t done any correction yet and want to apply a LUT or initial “balance” correction.
I agree, it does take a while to get your head wrapped around Groups, Pre-Grade, Clip Grade, and Post-Grade, but it’s much, much more convenient than a global change.
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Render out 100% color bars and also a few seconds of grayscale, and see if these test signals look identical to the originals. You can always bring those files into Resolve and A/B them with the actual files in the timeline.
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[Conrad Hughes] “Thing is, how many of us are going to be able to afford a digital cinema projector?”
You either accept the consequences, or you find a way to overcome the problem. There’s plenty of DCI-compliant D-Cinema projectors out there for rent, and it’s just a question of figuring out a way to use the rooms for your specific project. But you don’t necessarily have to buy a projector.
Believe me, you have a completely different sense of balance, contrast, and color on a big projection screen than you do on (say) a 50″ monitor. It’s a whole different thing. I’d also argue it’s hard to color-correct on a big-screen for a home video project, because there are things that work better in Rec709 space on a small screen.
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No, I don’t think a computer display will work for color-correcting a theatrical feature. You need a monitor specifically designed for grading.
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[Evan Kultangwatana] “Because I’m using the same exact render settings, but getting different results depending on whether I’m doing a full render or individual clip render.”
Render out some SMPTE bars and a grayscale test pattern and see how it looks on scopes. This will tell you the truth and possibly help you pin down a cause and a solution.
Maybe I’m paranoid, but I always, always include a few frames of bars and grayscale with all my renders, just so if I think I’m seeing a problem, 5 seconds later I can check the scopes and say, “nope, no problem” or “whoa! We have a problem!”
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[George Goodman] ” If I crunch all the info such that there is no clipping and use EXR or DPX will I have the same latitude as I would with DNG but just lacking the camera RAW features? I suppose I’m asking if I would be losing any information this way?”
No, no information lost. Just be sure to inspect the Log-space files and make sure the exposure and color temperature settings are correct.
VFX workflow is covered in depth in Susan Zwerman’s VES Handbook of Visual Effects: Industry Standard VFX Practices and Procedures, which is a very interesting read (albeit very long at about 1100 pages). A lot of this stuff has also been written up as white papers at the Visual Effects Society’s conventions over the years. There are several different ways to handle VFX workflows, but DPX and ERX are known to work very well with about a hundred $150M-$200M Hollywood features done in the last 7-8 years.
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Resolve Live would not be my choice for capturing from a 15-year-old DigiBeta. I would use an editing program, capture to ProRes or MPEG50 (or something reasonable), and make sure it’s getting timecode and all that stuff.
I just had to deal with a standard def project in Resolve a few weeks ago, and it was a nightmare just remembering how to set it all up. I haven’t done SD in like a decade or something.