Marc Wielage
Forum Replies Created
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[Nathan Krauss] “That makes sense. I saw posts from other users saying their .drp files were huge, as if it included all the media. That’s where I was confused. “
I have had .DRP session files that were well over 500MB, particularly if I exported all the stills with it (which I usually do when I’m going to continue the session on a different system). The media does have to be transported and relinked, but other than that it can work well, provided both systems are running the same software version. The stills will at least confirm that the color hasn’t changed.
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[Mike Most] “The simplest way to do this is to grab a still of the outgoing frame. Then you can wipe to it and adjust your incoming frame as you described. Hopefully I’m not misinterpreting again…”
First thing I thought of. Any other method is just going to be too much trouble and take too long, especially if you’re trying to knock out 500+ shots a day. My memory is also pretty good.
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Using 10.9.5 with no issues at the moment. I sat down with OSX 10.10 for about an hour, then ran screaming from the room. Apple has screwed the pooch with this one, a huge step backwards, IMHO. Hate it. And I go back to OS 2.0 with the Mac II, 1987.
I accept that we’ll all eventually have to upgrade, but jesus, these guys make me crazy…
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Watch out for the scaling options. And don’t forget to remove any letterbox blanking, and be sure to check in cases where shots were reframed. What works for me (thanks to Kevin Cannon of Prehistoric Digital) is to use a 2048×1152 timeline with 1920×1080 media, then output to 2048×858 in crop mode. 2.39 scope for DCP ingest comes out just fine that way.
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ColorTrace in the v11 manual, pages 414-421.
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Have the DP shoot it the same way they did for “Saw,” and use similar art direction, lighting, costume design, and makeup, and there should be no problem. But there is no magic switch that will do it beyond lots of cooperation with all the department, several tests, and lots of skill and experience.
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Assuming v11, blanking presets are covered on page 640-641. The choice of 2.35, 2.39, or 2.40 is a creative choice, but I usually lobby for 2.40.
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In v10, you can eliminate the Gallery and increase the size of the Node window by clicking the little tiny black button on the lower left edge of the Node window. That will shove it more to the left. Shrinking the size of the Viewer screen will also allow a bigger screen. Resolve v11 has even more space devoted to these controls provided you use a 2-display setup, which I think can yield a screen-wide Node window for people who want to see if they can cram 99 nodes into a single shot.
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I generally try to get my clients to render out any speed changes as ProRes 444 in whatever format they’re working in, just to avoid the headache of dealing with speed changes. In theory, speed changes should be interpreted correctly, but they’re always problematic and handled differently within Avid, Premiere, Final Cut, and Resolve. If the incoming file is already at the right speed and is intended to be played back at 24fps, then it should drop into the timeline just fine.
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[Brittany DeLillo] “You’ve confirmed my suspicions regarding 422. It seems the Red is the only format that will truly benefit from being 100% raw.”
Actually, Arri Log-C works great, as does Blackmagic CinemaDNG and Canon Log. There are some advantages to keeping this it at least a log-ish format. It’s the baked-in looks that kill us in post.I sympathize with having to work with lots of different camera formats in a single one project. I did one a few years ago that had multiple 35mm film cameras, 16mm cameras, DV camcorders, HD cameras, Super 8, you name it. Quite a post nightmare, but it worked out in the end. It’s a rare project these days that doesn’t use at least two kinds of cameras and formats.