[Oyvind Stiauren]

i am still on resolve 11 because of an unfinished project! but i could go
the other route you posted, and i really nearly did, but then i thought:
of course i can render my proxies manually, and later reconnect, but
shouldn’t this be possible with the built-in render-cache automatically?

The problem with all the render cache options in Resolve 11 is that the caching is done in the current Timeline resolution, and not the original clip resolution. So you’re left with the two options I mentioned before.

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Oyvind Stiauren
Post production supervisor, Colorist
Terminal

Mexico City

[Oyvind Stiauren]

I’m trying to find a softkey command that is the equivalent of middle click (or ADD CORRECTION right click)- If I have a still selected in my memory, but not committed into a memory bank slot, can I apply that grade to the selected clip in the timeline with a softkey?

Strangely enough, there is no key for doing that. Maybe Blackmagic should implement that on for example the shift-up+PLAY STILL key or something like that.

Second one- Is there a softkey to disable all grades?

That function is on Shift-down+DISABLE CURRENT.

—
Oyvind Stiauren
Post production supervisor, Colorist
Terminal

Mexico City

[Oyvind Stiauren]

If I understand your problem correctly, I think there are two ways to do what you want:

1. If you are able to use Resolve 12 you can use the “Optimize Media” function. If correctly configured in the Settings, it will make proxy ProRes files in 1:1 resolution.

2. If you have to use Resolve 11, you can import the whole DPX file to Resolve, put it in a timeline and render to ProRes using the “Individual Source Clips” and “Render at source resolution” options in the Render Settings. Then use the ProRes files to work with and later re-connect the DPX files using the “Reconnect from bin(s)” option. This way is not as elegant as the first one, but it works. Getting “Reconnect from bin(s)” to do what you want it to do can be difficult. A good start is to make sure that the “Reel Name” on both the DPX and ProRes files are the same.

—
Oyvind Stiauren
Post production supervisor, Colorist
Terminal

Mexico City

[Oyvind Stiauren]

How many sequences you’ll have will of course depend on what type of projects you have. I mostly do DI for feature films and for those projects I usually will have 4-6 sequences, 1 for each 2000 ft reel. But when doing color correcting for restoration of old feature films, each reel will be only 1000 ft, and therefore I’ll usually end up having anywhere between 8-13 sequences. So I can see that in some cases you can end up with quite a few sequences to manage, but in most cases I think the way things work right now in Resolve is adequate.

—
Oyvind Stiauren
Post production supervisor, Colorist
Terminal

Mexico City

[Oyvind Stiauren]

It’s quite easy calculating it yourself:

H * W * No. channels / 8 * bits per channel / 1024 / 1024 = MB per frame

So for a DPX file in HD (1920×1080) with 3 channels (RGB) in 10 bits you’ll have:
1920*1080*3/8*10/1024/1024=7.42 MB

—
Oyvind Stiauren
Post production supervisor, Colorist
Terminal

Mexico City

[Oyvind Stiauren]

Me too.

—
Oyvind Stiauren
Post production supervisor, Colorist
Terminal

Mexico City

[Oyvind Stiauren]

I have a Davio and it does indeed have HDMI 1.3 input and output.

—
Oyvind Stiauren
Post production supervisor, Colorist
Terminal

Mexico City

[Oyvind Stiauren]

Hi.

RC2 and RG2 are the recommended settings for converting RED material to Rec. 709.

I am not trying to make your life more difficult here, but I just want to mention that i’ve had issues rendering Quicktimes in HD with Nuke. It’s a bit complicated to explain briefly but In my experience HD Quicktime files made by Nuke have Rec.601 luma coeffecients hard coded in stead of Rec.709 luma coefficients. The file has a flag to indicate this, and some software, like FCP will compensate for this during decoding, but other software might not. I only have the Linux version of Resolve, so I am not sure what Resolve for Mac does. If the files are not decoded correctly colors will be slightly different from what it should be, and it will often give a difficult magenta color in the skin tones. I would recommend just using REDCINE-X for conversion.

—
Oyvind Stiauren
Post production supervisor, Colorist
Terminal

Mexico City

[Oyvind Stiauren]

[Mike Most] “No, it really doesn’t”

You’re right. I was mistakenly reading that you subtracted blue in the blue channel and added red in the red. My bad.

The component sliders in the color mixer are gain sliders though, with the pivot at 0, but with the added feature that they’re mixed together on the output. You can easily see that on a parade scope.

—
Oyvind Stiauren
Post production supervisor, Colorist
Terminal

Mexico City

[Oyvind Stiauren]

[Gabriele Turchi] “why the gain and not the gamma ?
i think have to be overall aond not only one part of the image (such as gain)”

Gain adjusts the white point while keeping the black the same. That is exactly what white point correction is.

If you adjust the gamma, you’ll keep the black and the white the same white stretching the mid-tones.

Because of non-linearities is most images you’ll often have to use a combination of gain, gamma and even blacks corrections to achieve a balanced white point correction. But if you just want to move the white point you’ll have to use the gain control.

—
Oyvind Stiauren
Post production supervisor, Colorist
Terminal

Mexico City