Marc Wielage
Forum Replies Created
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If you’re on v10, pp. 468-481 of the user manual covers secondary isolation pretty thoroughly. I find you’re generally better off including more than less, to avoid tearing and a “chattery” key, but a lot depends on the material you’re working with. And as Joe mentions above, a lot also depends on where in the node tree you’re trying to do the secondary.
The excellent tutorials from Alexis Van Hurkman and Warren Eagles go into basics like this in great detail.
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Yes, Timeline correction (as opposed to Clip correction), pp. 774-776. Formerly known as “Track mode” in v.10 and earlier.
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Both look reasonably-well shot, so you could probably do it with skill, experience, and effort. If the ProRes was in Log color space, I think you could get there, judging by the above images.
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[Tim Vandenberg] “Anybody have any experience with grading a scene combining two different shades of blue ocean together.. “
It can be done, and it happens every day. All you need is skill, experience, and time.A lot depends on how well or how badly the material is shot (and edited), but it’s doable. In some cases, you might have to degrade or change the wide shot to match the other shot — or vice-versa — but it hinges on a lot of unpredictable circumstances, particularly time of day and lighting.
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I think one trick is, you have to go to the point where you want the new keyframe to appear, THEN hit the keyframe button, THEN change the position. And then hit the Interpolation button.
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[Paul Provost] “Well, as long as you’re in the middle of a big important project, I think it’s a fine idea.”
I also think Sascha should try it while standing on his head, underneath a ladder, near a leaky nuclear reactor. That’d be interesting.Anybody remember that old saying of, “you know how you can spot the Pioneers? Those are the guys with all the arrows in their backs…”
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The section starting at p. 772 in the manual covers Groups pretty thoroughly. They are different now than they were in v9, but I’d say the Group Pre-Clip and Group Post-Clip modes add to the flexibility, giving you a lot more options than before.
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Read the Resolve config guide, which specifies what graphics cards work:
https://www.blackmagicdesign.com/media/6677767/DaVinci_Resolve_Mac_Configuration_Guide_Sept_2013.pdf
In general, it has to be a Blackmagic video output device for the viewing monitor.
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[Nat Jencks] “Yup, LUTing on input certainly solves this specific problem, but thats not the way I work”
You could always change!This is kind of like saying, “doctor, it hurts when I do THIS.” And the answer is, “don’t do that.”
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For this and other reasons, I prefer to drop the camera Raw LUT in first (or use it in the config as an input LUT), because this way you aren’t struggling with keys and other issues. But not everybody agrees with this method.