Mike Most
Forum Replies Created
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Peter, I really like what ive seen of the new conforming tools, but there seem to be two things missing that are a bit frustrating. First, the ability to play an overlay mix of the conform and the offline seems to now be gone in favor of a side by side playback only. Second, although timelines seem to be rebuilt effectively from XML files, Resolve doesn’t seem to pick up any common effects, such as basic motion effects – in particular, transforms, flips and flops, that kind of thing. I understand the attraction of a reound trip approach, but for those of us working with higher resolution material – Red files, for instance – the ability to do transforms from the higher resolution original image, and the quality of Resolve’s scaling engine, is one of the big attractions of the program. Its a big time saver to have transforms applied automatically, particularly when the information is already in the XML. The overlay playback allows a much quicker and more accurate conform check, and is something many of us use all the time.
Am I missing something, or are these things not in the current beta?
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If you wait about a month, Blackmagic is releasing a free version of Resolve which will probably do what you’re asking.
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Having user control of pivots for all three basic controls (lift, gamma, gain) would go a long way to solving that problem, particularly when working with log format originals. Resolve is one of the very few programs that does not offer that.
Personally, I’d also like to see a set of log based controls, in particular, exposure and contrast, in addition to the lift, gamma, and gain. But that’s a different topic…….
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Good suggestion.
I would add that for most material you’d want to do this with, it would most likely be starting out as video gamma, not linear. So “what Sascha said,” with the caveat that you should probably make it “Video” to LogC rather than Linear. You should also make sure you make it Extended Range (in and out), 1D (No Matrix), and then Force 3D Lut in the output section. Select DaVinci format, drop it into the Library->Application Support->Blackmagic Design->DaVinci Resolve->LUT-.Arri folder and you should be all set. When Resolve starts, it should create a dat_3dlut file from the .dat file for you. It will then be available in any node via the LUT pulldown, under 3D.
The Arri LUT builder is one of the great online resources and extremely valuable whether you’re using Arri cameras or not. Arri deserves a lot of thanks for creating it.
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Preconform.
Search the manual for that if it’s not self explanatory.
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Hi Rohit,
It’s not inverted as in flipped. The colors are inverted and solarized, so I’m getting a solarized negative image, as if the RGB is being multiplied by a non-existent alpha channel. It only happens on the Conform page, and only in the right monitor when I toggle it from offline clip to source clip. The offline clip shows normally.
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The only one I know of that completely displays P3 is the Dolby monitor, which costs about $30K. And that’s not really a “flat screen,” at least not in the sense you’re talking about.
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…or you could go here:
select Technical, then LUTs, and build one for free. Just make it LogC to Video, extended range on both input and output, and no color matrix (1D LUT). You can output for just about any system out there, including DaVinci.
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I would humbly point out that any competent colorist should be able to come up with something that matches your original intent directly from the original LogC file using your dailies as a reference very quickly. Using your original LUT will only tie their hands in terms of both range and ability to come up with a “cleaner” version of what you originally intended. A lot of producers, studio people, and even cameramen seem to think that passing on LUTs to the final colorist is a time saver, but as an experienced colorist, I can honestly tell you that it’s not. It’s one of those things that sounds good, but is usually thrown out by the colorist in favor of a new correction that implements the original intent, but in a better way. Where LUTs are handy is during editorial and/or visual effects work, so that both the editor and the VFX artist can look at the material through the LUT and know what is intended in the final version. But for final color, it’s not nearly as useful as many people seem to think, even when it works.
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Only if you have a really great cinematographer on the Alexa and a really awful one on the film camera.