Mike Most
Forum Replies Created
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Seems to me the best way to do this is to use either the media manager in Final Cut (if that is the edit system) or consolidate and transcode in Avid. If you’re using wrapped movie files, editing operations (and sometimes transcoding) have to be done to make shorter clips, or to extract parts of existing ones. That is not really the province of a color grading system. If you’re using DPX or other file sequences, this is simpler because you can simply copy the frames you need and put them in new folders.
Split and add is a “virtual” function. It creates Resolve clips that are the specified length, but those clips can and do point to original media that needs to be available in its entirety. It doesn’t create new physical media.
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The red mark means you’ve used the same source clip in two (or more) different places. Since the master session only loads each clip once, the same color correction will be applied to all uses of that clip. The way around this is to either make local versions of the additional uses (right click on the VSR and select Local Version), or to use Split Clips when adding the clips to the Media Pool. You will need to add the clips to the Media Pool using “add clips by EDL” for this to work. Personally, I have a love/hate relationship with the default behavior, as it’s very convenient on dialog scenes with lots of back and forth cutting from the same shots, but it’s easy to forget about when you’re doing things like tracking windows (which need to be done for each clip individually).
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The format string doesn’t need to be that complex. Assuming the file is in the directory you’re pointing to, the only thing needed is “*/%R_*”. The string parses the name from the back, so that string will eliminate anything after and including the first underscore it encounters working backwards from the end of the file name. Similarly, if all you want to do is remove the .mov extension, you would use “*/%R.*”, which would remove the period and everything after it (i.e., mov). The formatting expression is described in the user’s manual.
As for confirming that it’s working correctly, you can check that by simply dropping one of the files in question into the media pool. Going back to to the Config page and changing the string will change the tape name in the media pool, and you can do that “live” to adjust the string until it’s correct.
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I don’t see why not. Color doesn’t change with resolution, your color decisions would be exactly the same regardless of the frame size, and the same color settings would work.
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I agree with the original poster in that it seems like a rather silly thing to cripple simply to sell $30K control panels.
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You might consider using Redcine X to manufacture larger frames than they actually need, thus giving them the option of reframing in the composite without significant quality loss. For instance, make 4K DPX frames for them with full frame sizing and let them crop and resize as needed. That way they’re not dealing with R3D files, and they already have color you’ve set up.
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I have not worked on Nucoda, but I have done many shows on Baselight, which has a multilayer timeline (which recreates the Avid or Final Cut timeline very accurately) and can bring in any transforms (i.e., resizing, repositioning) directly. Not quite as comprehensive as Film Master, but the transforms are a major part of what you want to be brought in, especially if you’re working with things like R3D files. In that case, you’re doing all of your resizing directly from the 4K image, a huge advantage.
Avid does have a partnership program, of which I believe both Digital Vision (maker of Film Master) and Filmlight (maker of Baselight) are a part.
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That approach certainly works (it’s basically how we do nearly all of the network dramas and comedies at Level 3 Post), but it’s not the “round trip” workflow that’s probably being requested here. It’s basically a file version of a tape to tape workflow that’s been the mainstay of post facilities for years. In a round trip workflow, clips would be produced by the color system that relink in the edit system. That allows for modifications to effects, cuts, and anything else, as well as a concurrent workflow. In our world (those network dramas I was talking about) a roundtrip approach is not really feasible, because clients have been brought up in the tape world, and the legacy of that is that they expect to see a complete show – effects, blowups, repositions, all in place – in the grading suite, and to see the completed version played out. They would be put off by shots that are supposed to be resized but aren’t, or shots that are supposed to have effects on them that don’t. So we use the “tape to tape” approach, but it’s not the most efficient way of doing things.
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Of course, it would all be even more flexible (and accurate) if Blackmagic would add a log grading toolset to Resolve……. ;-))
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>I normally ad my LUT to the second node of the Tree. I find its the easiest as if I need to make changes to >the original LOG image I can pop back to Node 1 and if not I can grade away happily from Node 2.
Maybe I’m reading this incorrectly, but in my experience, the LUT is the last item in the processing path for each node. So if you grade on the node that applies the LUT, you’re still grading prior to the LUT.
I do exactly what you do, but I use a 3 node tree, with the first being the pre-LUT correction, the second simply applying the LUT, and the third being the first post-LUT correction. Any secondary isolations should be done in later nodes to make use of the additional contrast and saturation after the LUT application.
BTW, it’s very refreshing to read a post here by someone who actually understands what log files are, what LUTs are for, and how to set up a proper processing path for grading log format originals.