Marc Wielage
Forum Replies Created
-
[Nat Jencks] “If your timeline is from a single source clip, e.g. you have used the import pre conformed EDL to notch a flattened render, is there a way to flag a single clip?”
If you use a local grade rather than a remote grade, or create a new Version, it seems to me that the clips would no longer be linked and then you’d be able to flag individual clips that have been cut up in the conform window. -
[andrew sableton] “I suspect that the makers got used to the log look in the edit and then became convinced that was how their film should look….”
You’d be surprised how often this happens nowadays. A real danger of dailies is that the director, editor, and producer get caught up into this look and become convinced that this is how their project must look over time. I think the permeation of the “raw look” in commercials has happened because people are running out of unique looks to distinguish what they do from everything else on the air. -
Tell them I have a plug-in that will edit the show as well as color it…
-
Tell them to hire a real colorist who knows what he or she is doing.
-
Use a free utility to check the audio file and see what the embedded timecode rate is. Sound Devices’ Wave Agent is a good choice:
https://www.sounddevices.com/products/waveagent/
I would also check to see the Configuration setup on what rate at which you’re playing back the files, and check the individual clips to see what the timecode of the DNG files are at.
A radical speed change sounds like a 44.1/48kHz sound issue, or possibly a 23.98/29.97 timecode issue.
-
David Fuller commented: “Why? How do the external scopes differ from the built-in ones?”
The built-in scopes are too slow to react, for one. Another is I want to see the effects of the output graphics card just to make sure there’s no issues with legal levels and so on. And I’d also rather have the scopes on a separate monitor and not get in the way of the on-screen DaVinci GUI.
The Blackmagic SmartScope 4K duo will handle this job pretty well, and it’s fairly affordable (under a grand).
-
Anything you do to correct or change the background color in Resolve could potentially make things noisier. My advice would be to just provide a good technical grade and then leave the final background tweaking to the composite artist. They can pull clean keys on damned near anything these days.
-
Read about the differences between Layer Mixers and Parallel Mixers on page 472 of the Resolve 9 manual. Power windows can either add (mix) or stack (as layers).
-
In the old days of traditional telecine mastering, we just created a longplay HD 4×3 pan/scan version (matted on the sides), and then used that 23.98 master to generate the downconversion for SD and PAL. Inserting proper 2:3 cadence was automatic.
What are you using to monitor the standard def image? If you’re using an HD set, the artifacts from upscaling will tend to prevent you from judging artifacts and edge enhancement. What’s the source material from? I bet you’ll get different results depending on frame rates, compression schemes, and chroma subsampling. DPX files should look dynamite; QT 422LT, not so much.
I’m wondering if Apple Compressor might be a better route to convert a 23.98 1080 HD master file to 29.97 640×480. I know that works, but I have to say, the regular output of the HDCam decks was pretty good, as was the old Panasonic Universal Format Convertor (an add-on for the old D-5 VTRs from ancient HD times), and those were real-time.
-
Page 230 of the Resolve 9 manual explains Linked and Unlinked Grades. Also covered in Chapter 7 (page 530), “Copying and Managing Grades.”