Nate Weaver
Forum Replies Created
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The channel mixing tab in 8 can get you started on some of these looks, since they are rooted in dyes that were inaccurate by today’s RGB standards (as I understand it, I am certainly no expert).
For instance, taking some green channel OUT of green channel and replacing with blue will move you towards a 2-strip Technicolor look.
Anyway, I’d start there, and then move to color casts, vignetting, black tints and such.
Nate Weaver
Director/D.P., Los Angeles
https://www.nateweaver.net -
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Well, to answer your question, it’s yes.
But its kinda a joke to call it “3-way Color Corrector”, because nothing’s changed except the visualization. It was always a “3-Way Color Corrector”.
Nate Weaver
Director/D.P., Los Angeles
https://www.nateweaver.net -
One extremely long take maybe, lots of spanned R3Ds, and the camera crashed, making the ingest scan the entire file?
Wait, Reds don’t crash. Nevermind.
Nate Weaver
Director/D.P., Los Angeles
https://www.nateweaver.net -
If I understand the problem right, the real way to do this is make the song the only media in the primary storyline.
It’s the most important thing (I.e., the object all timing is designed around), therefore for it should be the primary storyline. Video clips connect to it above then.
Nate Weaver
Director/D.P., Los Angeles
https://www.nateweaver.net -
Turn on “high quality” under image quality in preferences.
Should kill the flickering. Tell me if it does, it did on my 1080p24 XDCAM material, but it was more of a pulsating, maybe at 2hz-ish.
Nate Weaver
Director/D.P., Los Angeles
https://www.nateweaver.net -
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There’s other reasons to not send a flat QT export to Resolve, btw.
Resolve can sort your timeline in an alternate order where shots are sorted by source timecode, so all shots from a certain scene (if they are scattered about) will be grouped together for easy grading and reference. Also, shots from the same take automatically get the same grade, and that’s lost too.
But if you give it a finished edit in one Quicktime, there’s no such thing as those features, so it’s a drag when it’s missing.
Nate Weaver
Director/D.P., Los Angeles
https://www.nateweaver.net -
Resolve user here.
The problem is that to work your best in Resolve, you need a way to move your timeline from FCP to Resolve.
Before Wednesday morning, the only way to do that was via EDL or Avid AAF. Resolve 8 came out Wed, and now takes XML from FCP7. Flawlessly, in my short tests, I might add.
You can export one big QT from FCPX, bring it into Resolve, and then have the Scene Detector notch the QT up into shots. This is not a bad way to go for shooting formats such as DSLR, XDCAM…in short any format that is LESSER than ProRes.
For any format better than ProRes like Red, Arriraw, etc, it’s prefereable to work with the original camera media…and that’s where you need that EDL or XML out of your NLE.
Nate Weaver
Director/D.P., Los Angeles
https://www.nateweaver.net -
Final Cut has always created export outputs by re-rendering from the original media (I.e. not by reusing already rendered media), so I think it’s a safe bet FCPX is using NOT using proxy media to create your outputs.
I don’t know for a fact, just that that’s always the way it’s been and I think the FCP team is smart enough to get this one right.
Nate Weaver
Director/D.P., Los Angeles
https://www.nateweaver.net