Nat Jencks
Forum Replies Created
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Understood, I’m matching some 8mm film transfers with quite extreme looks and need to really pull the blacks up. Thanks for the feedback, I’ll keep on doing what I’ve been doing!
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-Nat -
Thanks for the link!
Short answer for others who have the same question: At least for 10.1, you can color trace non default versions, the manual is just wrong / not updated.
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-Nat -
Should have specified, I want to lift/clamp blacks more than is possible by simply using the traditional soft clip.
I’m working with various 8mm and 16mm footage and frequently want to match the heavily clamped / lifted and tinted black levels of various Lo-fi transfers. I guess the 3 node method is it, just wishful thinking. I guess I could achieve this with curves but not ideal.
I’d love to be able to leave the age exactly as is but raise / clip the blacks up to high levels… -
Yes, this is a problem, and i’ve reported this as a bug / feature request. Works fine when working form material with handles / XML AAF conformed but when working with a pre conformed file this is an issue.
My workaround is to keyframe the noise reduction off on the first frame and then on on the second, etc. Painful if your doing this a lot though.
It should be smart enough not to apply to the first and last frame by default if working from a pre conformed EDL.
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Wow. I was not expecting that simple of a solution. Thanks a lot!
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-Nat -
Yes, I find the auto track lens flare to be kind of useless in most situations, since I really don’t want the source of the flare to jump all over he place finding the brightest point. My work around is to track and object near the light source, then make it a black circle or something easy to see, offset it an appropriate amount, and then keyframe the lens flare movement manually to match the light source to this black circle, then turn off the circle. Obviously sort of crude and far from perfect since the movement between keyframes is linear movement, but it works well enough if the lens flare is subtle.
Would be REALLY great to be able to use a resolve tracked object for the source.
Anyone have any secret sauce?
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Hmm, that’s an interesting idea. Is there a way to batch change meta data for huge #s of files? Thanks Sasha.
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Even when everything is truly locked, its nice to be able to dupe a timeline before you make a major change to a particular scene etc. Or occasionally I might have an assistant work on some scenes, and I like to duplicate the timeline before they start working on it.
I realize that the traditional workflow for resolve is to keep the number of timelines in a single project very low, or even at a single timeline per project, but I really don’t think that makes sense looking forward.
As resolve takes steps towards having some basic functionality as an online editor these type of things become more crucial.
The organizational benefits of being able group timelines and place them in folders seem obvious to me. I also use Scratch quite a bit, and the same conversation came up a few years ago as more users started using it for long form work and the need for folders to organize timelines (constructs in scratch) came up. When scratch added the ability to place timelines in folders (groups) to organize them it was a huge benefit organizationally for me.
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-Nat -
I work on features so I usually have 5 or 6 reels. It’s not uncommon for a reel or two to have recuts after the preliminary turnover at which point we reconform, but I like to keep the old sequences for reference. So it’s not uncommon for me to have 10 sequences. I would like to be able to create a folder called “old reels” or “archive” etc. Best-
-Nat -
yeah that should work, but performance from 16bit tiffs is quite poor compared to 10-bit DPX, the tiffs are apparently not optimized for playback in the same way DPX are.
BMD, if your listening count this is a request for supporting DPX with alpha.
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-Nat