Michael Gissing
195
COW Coins
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DaVinci Coins
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Solve Coins
Forum Replies Created
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I would start by using the Resolve feature of Scene Cut Detection on the Media page to import the master file. This should accurately chop the master into individual shots. Place that on the top track of the imported AAF timeline and then identify the shots that group with a particular camera & scene. If you color code those clips, then on the Color Page, you can select clips by color and put them in a group. If you then apply a color space transform to that group, post clip grade then you can get each camera in the correct color space but still be able to apply grades pre the transform. I prefer that to using a LUT but if you want you could put a LUT post clip grade, but not before or you will bake it in.
Where you have dissolves or other transitions, you should have them as a single clip which makes it difficult to manage color space if a transition goes between different cameras. You will need to keyframe grades across transitions. I certainly hope you got a file that was textless otherwise your grades will also bake into the text.
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It’s the ability to just process and render the edited part of a long file that appeals. So often I would think that Topaz might be useful for stabilising for example but the effort of selecting and rendering from Resolve, import to Topaz, process, render, import to Resolve etc etc. To be able to just try things on just the bit you need is so much more useful. Especially when you decide you just need another couple of frames extension on a shot after seeing the processed shot
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Almost every time I have used Topaz , I have wanted to be able to do it inside Resolve so this is very welcome.
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If Reaper will chase LTC then you need a Decklink card on the Resolve computer and an adapter to break out the embedded timecode in the SDI to play LTC to Reaper. I’m presuming the Reaper computer has some sort of card to accept LTC.
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Given the software to make it work with Resolve is proprietary, I doubt it is possible. Of course you can map Pr keystrokes to a Stream Deck or similar controller that will give you a similar result, but I am pretty confident the Speed Editor is not just simply mapping keyboard shortcuts.
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The luma keyer is probably working but you still need the second duplicated clip underneath. Otherwise you are looking at black
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The whole point of native iso is to get maximum dynamic range with minimal noise. I certainly only shoot with native iso on my two Blackmagic cameras as well as shooting RAW. I have a friend with a Sony s7ii and I know she just can’t get clean log images off that camera. The stated native iso I suspect is incorrect as the noise is unacceptable, particularly as an 8 bit codec with slog2 or 3 is blocky when graded. I know my friend prefers a slightly contrast flattened rec 709 which often clips highlights but stays much cleaner and safer from noise and blocking. I’m not a Sony camera or codec fan, especially with the s7 range
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The Ursa records audio at the base frame rate so it will be drifting -.1%. Delink the audio and speed the audio up .1% and it should be back in sync. If it won’t just affect the audio speed on the edit page, it should do it on the Fairlight page. But unlink the audio from the video clip. Worse case you might have to bounce the audio to another track and then speed up the bounce. Do this to the whole clip before editing
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mpeg formats like GoPro need a good CPU. Resolve works best with a good GPU with enough VRAM for 4k at 60 frames. I would consider your CPU and GPU underpowered
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You will likely find that editors also do not know what online and grade facilities prefer. Everything depends on what the final output files are to be but a safe bet is to be using png for still graphics which supports alpha and is certainly compatible with major software, especially Resolve which is a very common grade tool. Mostly people work to rec 709 but increasingly Rec 2020 might be requested especially if HDR deliverables are required. For animation with alpha, ProRes 4444 is popular although it is notoriously bad at maintaining correct gamma translation. I’ve had mixed results with DNx codecs with alpha so apart from ProRes 4444 you can use image sequences in .png . Regardless of how you have built the assets you will need to work within the post pipeline when it comes to those final deliverables for online.