Marc Wielage
Forum Replies Created
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What happens if you do the conform with an EDL or with the AAF?
I have encountered cases where I had to have the editor prepare a “simplified” FCP timeline where they flattened the file down to 2 or 3 layers, just to avoid complex timelines that could trip up Resolve. Projects are much, much easier to color-correct when there are no compound clips and just a couple of video tracks to worry about.
In the event of something like a large, complicated split-screen, we’d approach that as a separate problem apart from the show and build it up separately and then import the color-corrected file back into the finish show.
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Well, you can copy grades with command-C or control-C and then paste them, if that’s what you mean. Do you mean one grade for the entire timeline? I have to admit, I’ve never tried copying a grade in that mode, but I bet it could be done. At worst, you could open up the node graph and drag over the specific nodes you wanted, if there was a reason for applying a grade to the entire timeline.
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[Scott Witthaus] “I am learning R11.1 (the public beta) and finding that the playback on a tricked out 2013 MacPro is terrible. Is this a setting issue or will the release version of fix the dropped frames and playback stutters?”
What specific file format and resolution are you trying to play back? It’s relatively easy to play ProRes 422 (as one example), but a lot tougher to play 2.8K Arriraw.I can play back 5K Red R3D files just fine, though any kind of NR will slow down or crash the system. If I just use the NR on the final 1080 output files (DNxHD or ProRes), all is fine.
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And in addition to what Joe says above, in the old telecine days, “aperture correction” was used right out of the film scanner, and “image enhancement” was used at the end of the processing chain. I think Steven Nakamura is just referring to sharpening with that word.
Note there are 3rd-party OFX plug-ins, like Boris FX Continuum, that use a different method for sharpening that will provide different results than the enhancement built in to Resolve.
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It’s amazing how hard it is to find a very simple “film-style” digital countdown. Most of the people who have built them think it’s cool to subject the images to heavy grain, destabilization, and flicker, none of which is necessary. Just a straight digital countdown in 16×9 is fine.
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[Wezley Joao Ferreira] “How do we create a count down timer in DaVinci Resolve? I cannot seem to find it and its not in the manual.”
The program can’t create a countdown, but you can download and import lots of different countdowns at many different resolutions from different sources on the web.There’s a nice free 1080 16×9 countdown from editor Job ter Burg’s website:
Many stock footage companies also have numerous different kinds of countdowns, including electronic, film, beat-up, vintage, SMPTE, digital, etc.
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Blurs can also slow things down. Matheiru Marano has an interesting blog post on different ways to improve Resolve performance:
Getting very fast hardware and very fast drives — particularly RAID 5 arrays with high-speed i/o — will help quite a bit.
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[Paulo Jan] “Interesting. How would you do that? Would it imply going shot by shot in every instance where there could be banding and intervene manually?”
Yes, you’d have to do it on a case-by-case basis. Otherwise, you’re screwing with every shot, including the ones that have no apparent banding.I need to make up a T-shirt that says “I Hate 8-Bit Cameras.”
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I believe Neil is correct. Nothing in the Sonnet tech information about adding additional GPUs under Thunderbolt 2.
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[Paulo Jan] “Anyway, I should clarify that I wasn’t actually trying to achieve a “grainy”/filmlike look, but just adding enough noise to prevent banding, as discussed in this thread:
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There are other ways to prevent banding, particularly in skies and other kinds of solid colors, just by using selective defocus keys. Adding grain to me is a last resort.