Mark Longchamps
Forum Replies Created
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Thanks everyone! How do I rent plugins btw.
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Are you using an ISIS or is all the media on the drives? Also we have noticed that Resolve does not like 2997 video. Our whole show is shot on it and I play off an ISIS but sometimes the resolve seems to get stuck and can’t play clips. This will also happen from any one of our 6 fibre Sans. 23.976 never has this issue. I noticed your show is 25I so maybe the issue is the same as we have – Resolve just does not like interlaced video. Is every single shot the same frame rate?
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That is for sure the best option, and it is the one we want, but a bit pricey. I do believe you have to buy the entire package – you can’t get em a la cart. Anyone have another option?
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We do this all the time and it works well – but it took us a month of testing to get it right. Here is what we found. If you have a videomix down in the avid, the Resolve will read it and you can grade it. HOWEVER if you send an AAF back to avid with this mixdown the Avid will not read the AAF. Ever. EVER. Our guys render the mixdown, export it and reimport it back into the Avid as a new piece of media. Also I read that if you do ANY editing in the Resolve and I mean a one frame trim and then export an AAF, the AAF becomes corrupt and will not work back in Avid. I do not know if this is true or not, but when I need an edit done, the Avid guys give me a new AAF. Also, you want to EXPORT AAF from Resolve. DO NOT USE Generate New AAF. This leads to all kinds of heartbreaks. Here is how we work. In Resolve iu import AAF, click the Use Sizing Information button. This way all the avid speedups and blow ups are recreated in Resolve. When I render it out, I turn all the Resolve effects off and render full frame, 100% speed clips and export an AAF and have Avid rebuild everything. Here is how we handle nested effects. The editor keeps the nest in the timeline but copies all the media in the nest to the end of the sequence in a stack. I then grade each clip at the end of the sequence and the Avid editor copies and pastes the graded material into the nest. I suspect you have some video mixdowns in the timeline somewhere which is killing you. When we do this round trip, we try to “keep it real” in the Avid and strip off as many effects and collapse as many layers as we can. I do not relink back to r3d media and I have never dealt with multicams before, but I hope this helps you. If the Avid considers a multicam clip like a videomixdown, this is what is killing you. I do not know enough about Avid to be sure, but if I were you, I would export three mulitcam shots from Avid with an AAF. Grade and try round trip.
As far as your timecode goes, that is a different story. I am going to assume you checked the timecode of the original clips against the timecode of the multicam clips to see if it is the same. Perhaps the TC on the original clips is different between the two cameras and the Avid made its own multicam timecode which won’t match anything. I would see if the Avid editor can remove the Multicam clip and replace it with the original clip from the camera. Then export an AAF. Not fun, but it may work for ya.
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We use a shared data base and we do not have any playback issues, but we are not doing 5k. However, we do a lot of reality TV shows and a 45 minute show with 1600 cuts seems to take a looonnnngggg time to save around 45-60 seconds. Our shared database is on a MacMini on a gige network and the mac mini can only write so fast. Can you put your shared database on a network SAN or a SSD? That may help. Or not.
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Might be worth a look if Resolve can handle the plugin.
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Very true and all great points Joseph. I have not idea how the plug in would differentiate between natural levels, but the Sapphire one usually worked out well enough – particularly for reality tv Iris changes.
ie shooting 2398 or 2997 fps with 50Hz lighting is most common, especially for reality
This happened to us once and it was a hell of a job to fix it.
back to doing it by hand I guess.
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Thanks guys. I was afraid of the no auto answer. Still a little new to this Resolve software. The reason why I asked is because I have used Flame for 15 years and there was a spark by sapphire called Flicker Remove. This is designed to remove a flickering shutter back in film days but it works GREAT for this kind of thing. You set a KF where the shot is “properly” exposed and then hit analyze. The plugin then looks at the whole shot and fixes the exposure. It is not perfect, but 97 times out of 100, it got close enough with only a few button clicks. And since I do mostly reality TV, good is fine. I would not do this for a feature or commercial work, but I wish I had this in Resolve.
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Thanks Marc. I will give color trace a try, but after some research, groups do not seem to want to copy over between AAF or XMLs. I too was skeptical of groups, but I work on a reality TV show with lots and lots of three camera interviews (medium of host, medium of guest and wide shot) and grouping these shots saves a ton of time when doing a grade. I do not use groups for commercials or features, but reality TV just screams for this kind of workflow.
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Just finished watching the Ripple training video. Turns out this feature is not yet implemented. Thanks Alexis. Great video as always.