Mike Most
Forum Replies Created
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Personally, I’d rather use a Baselight, whose interface is probably simpler, clearer, and more immediately descriptive than either one. But that’s not what this conversation is about.
You don’t like the node orientation, I get it. But before you claim to have the high road as to what Blackmagic “should” or “should not” do, you should probably consider that there are an awful lot of Resolve users who are quite happy and don’t happen to share your affinity for a layer based interface. That doesn’t make you wrong, and it doesn’t make them right, but different products exist for a number of reasons. Each company uses its own design ideas and customer (and potential customer) feedback to design something they feel works well for those customers and is extensible enough to add new features in the future without forcing a complete redesign. Most Resolve users probably feel the interface is just fine the way it is. You don’t happen to agree. That doesn’t mean the company should change it simply because one potential customer doesn’t like it.
Perhaps you would prefer that they go the Apple route and release Resolve Pro X. I’m sure that would go over well…
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It’s available, but only if you use the DaVinci control surface.
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Are the MXF files in a numbered folder under the Avid MediaFiles->MXF directory structure? (i.e., Avid MediaFiles->MXF->1) And is the Avid MediaFiles directory at the root level of the drive you’re using? If so, MC should be making a database file in that folder when it starts up. Create a bin and drag the database file (it’s got an extension of .mdb) from the Finder window directly into the bin. All of your master clips should then show up in the bin. You don’t really need the ALE.
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Go to the LUT generator and make a LogC to Video LUT, extended range in and out, no matrix. Force 3D LUT generation, select DaVinci format.
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Charles has been advocating a defined gamma for some time now. I too wish that the industry would pay attention and come up with some sort of standard, but as Charles himself admitted to me, it’s a difficult situation now because of the different monitoring technologies being used and the vastly different monitoring environments being encountered. Digital cinema kind of has it easy, because by definition it’s always being viewed in a dark room, as you said. The defined gamma of 2.6 makes perfect sense in that environment, but it’s a much more difficult situation when we’re talking about a medium that’s viewed on everything from projection to LCD’s to plasmas to iPads.
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>>Rec-709 by definition gamma is 2.2
That is not the case. Rec709 defines a specification for capture and transfer (it is basically scene referred), not for display. To quote Charles Poynton:
Rec. 709 is written as if it specifies the capture and transfer characteristics of HDTV encoding – that is, as if it were scene-referred. However, in practice it is output (display) referred with the convention of a 2.4-power function display [2.35 power function in EBU recommendations]. (Rec. 709 and sRGB share the same primary chromaticities and white point chromaticity; however, sRGB is explicitly output (display) referred with an average gamma of 2.2.)
It should be added that sRGB is based on the Rec709 primaries and white point, but not display gamma as Rec709 is not a display referred specification. sRGB is intended for display of computer graphics, not video.
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If you create the group, then add a new node as an Append node, it will be placed at the end of every node tree for every shot in the group, allowing you to do what the track node does, but only for your selected shots. Is that what you’re after?
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I’m not sure what you mean by “batch,” but if you’re talking – as I was – about making a group selection and creating a new group, the answer is yes, what you stated is incorrect. If you create an Append node, it is placed at the end of the node tree in every shot, regardless of how many previous nodes are present. In my test, I intentionally used shots that had differing numbers of nodes and it worked just as I described.
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I just tried the approach I was suggesting, and it does work. You select the entire timeline, add the shots into a new group, and create an append node. The node is created on all of the shots in the group and any changes you make apply to all of them as well. The VSRs update to reflect this. This approach is a bit tricky, but it does work, and would answer your issue of giving everything a new starting point.
However…….
Rohit’s suggestion of using the Track node for your original scenario (i.e., modifying all events to be brighter, for instance) is much quicker and easier. And as far as I can tell, not well documented, hence why I didn’t know about it. 😉
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Yes, it is correct. Ripple is only available with the DaVinci panels.
You could, at least in theory. highlight the entire timeline, create a group, append a node, and make the change. After you confirm that it worked, you could then delete the group.
In theory.