Ola Haldor voll
Forum Replies Created
-
If I recall correctly, the dialog says it’s XML 1.1 and that some things might not work.
As far as I know, FCPXML 1.1 is new as of January 31 – DaVinci haven’t had any updates after that. In other words; I don’t find that weird at all.
-
Can’t access the Harris scopes today.
Dan told me to test with a 1D Data to Video LUT. Certainly helped a whole lot, yet it’s very fuzzy after render.I think this image attached speaks for itself. Click it to see full size.
-
There’s a Harris scope in the building somewhere. I’ll see if I can get my hands on it.
-
Makes sense to me.
Looks like I’ll have to add Broadcast Safe filter in FCP for the previous episodes for now.But no matter what I do – the rendered files always seem more fuzzy, and goes a little beyond the values I see when I monitor directly from DaVinci.
If you’re not familiar with ScopeBox, it’s an application that can take any input device and produce scopes. In the Mac with ScopeBox I have the first generation Decklink HD Extreme.
I can’t think of anything else than the rendered files being the sinner. It must be something in the render process.
-
I think I made myself unclear. Sorry.
The random clip in one of the episodes shows 120IRE when Resolve is set to monitor Unscaled.
When monitored Scaled, it flats out to an even line on 100IRE or just below.When I have rendered this clip, Scaled, and playback outside Resolve, it’s becoming fuzzy like the picture shows, peaking at something like 102IRE or somewhere there about.
However,setting the Waveform in ScopeBox to show the scale in 10-bit Scale shows a peak at 1023.
-
Another workaround, directly in Resolve.
1. In Config > Settings, enable Show the current frame in the master session
2. Place the clips on a timeline
3. Go to Color
4. Click the Timecode several times to go through a number of different ways of showing information. One of them shows you the frame for each clip, from 0 to ……
5. Find the right frame number, go back to Conform and cut.Now it shouldn’t be too hard to calculate just how many seconds and frames ahead the out point will be, using a timecode calculator. Otherwise, go back to Color and find the frame number for the outpoint, go back to Conform and cut again.
-
I’ll make a video/screencapture tomorrow to show you how the waveform in ScopeBox behaves in the different monitoring situations.
-
That’s a good and valid point. Absolutely. I have yet to do 3D, but by the time 3D is getting bigger over here, I’d probably have the big panel anyway.
-
I’ve got the JL Cooper Eclipse – and I love it. I haven’t used either of the other panels (tested the Resolve panel at a demo – and it’s no doubt on the wish list!) but what I can say, compared to videos I’ve seen, using the Eclipse is more direct.
What I mean is, instead of clicking through endless menus (they probably have more options in total, what do I know) I can quickly click directly to the options I want.
There’s six rotary knobs at the top left of the panel. These hold things like lift, gain, saturation, hue, controls for windows and HSL selection. Instead of clicking through all these presets, I can click directly from one set of controls to another.
There’s also a set of rotary knobs to the top right. These are permanent and you can quickly select Versions, Scene, Still, Keyframe and Node.
You also have dedicated buttons for anything like each type of Window and window controls, highlight, track forward/backward, several types of nodes, save/play stills, save and load Memories, a button to bring up the Render panel++
I also like to have the numeric panel, so I can jump from one shot to another by typing numbers.
I’m not saying it’s the best panel out there, but it was the one I wanted because of the features. I seldom use the mouse for anything except setting up the project.
-
I’m not sure you could beat a deal like that. £ 100 for a LUT that you potentially can earn back in no time doing grading is not a steep price if you ask me.
The alternative is to buy the software and make it yourself.