Pepijn Klijs
Forum Replies Created
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Resolve’s answer to your question is the difference between serial and parralel nodes. With serial nodes you’ll adjust sequentially and with paralel nodes you can feed the same source to different corrections.
I hope I explain this well:)
Editor/Colorist, Amsterdam, The Netherlands
http://www.pepijnklijs.nl -
The manual also says to put the exported files in a different folder inside the mxf folder ie. Mxf/2/. Maybe that could help as well.
Glad to hear its working now!
Editor/Colorist, Amsterdam, The Netherlands
http://www.pepijnklijs.nl -
You can check the clip attribute settings by rightclicking a clip in the mediapool, maybe that helps?
Editor/Colorist, Amsterdam, The Netherlands
http://www.pepijnklijs.nl -
Have you tried to delete the database files in the Avid Mediafiles folder? Sometimes rebuilding those files will make the Avid see them.
But I still think your missing one step, the step of exporting an AAF from davinci to Avid as described in the manual on page 192.:
9. After rendering is complete, open the Conform page, make sure the timeline you rendered is still selected, and do one of the following, depending on whether you made editorial changes to the timeline in the Conform page:
> If you didn’t make any editing changes to the timeline you imported, then choose File > Save XML/AAF, and choose “AAF” from the Format pop-up menu. This exports all audio and effects using data from the original AAF file that was exported from Media Composer, regardless of whether or not they’re supported in Resolve.
> If you did make editing changes to the timeline you imported, then you need to Right-click the timeline you want to export in the Timelines list and choose Export > Generate New AAF. This option creates a brand new AAF file that preserves your editorial changes, but audio and effects that are not supported in DaVinci Resolve are discarded.
10. If you like, enter a new title for the sequence. By default, the exported file is named identically to the original, but with the suffix (Resolve) appended.
11. ClickSave.Hope this helps!
Editor/Colorist, Amsterdam, The Netherlands
http://www.pepijnklijs.nl -
It’s been a while since I did the roundtripping with Avid, but shouldn’t you also export the AAF from Davinci back to Avid?
Editor/Colorist, Amsterdam, The Netherlands
http://www.pepijnklijs.nl -
Works fine here, maybe it’s your system?
Editor/Colorist, Amsterdam, The Netherlands
http://www.pepijnklijs.nl -
After 4 nodes of blur adding more blur doesnt make any difference, try it!
Editor/Colorist, Amsterdam, The Netherlands
http://www.pepijnklijs.nl -
@dan Nice diagram but blurring the image 3 times is simply not strong enough for the purpose of making someone unrecognizable.
Editor/Colorist, Amsterdam, The Netherlands
http://www.pepijnklijs.nl -
Wow, so I’m not the only one.
It’s really frustrating especially because the tracker in Resolve is soooo damn good compared to other choices (after effects, scratch) that it’s hard to spent my Sunday doing it manually, frame by frame, while I already had all my windows tracked well in Resolve.
I really don’t understand WHY the blurring is so weak. In combination with the tracker it is the ultimate tool for blurring license plates, faces etc.
By the way, I found a work around that doesn’t work for me on this particular project cause it’s a flattened quicktime, but in other cases you could do the following.
1. Grade the project if needed
2. Export the shots that need blurring.
3. Blur the whole frame in After Effects or whatever you want, render them out.
4. add those renders ‘as mattes’ to the according shots in the media pool in Resolve.
5. Use Juan Salvo’s (Thanks!) method for creating an external fill as described here: https://vimeo.com/49029693
6. throw up the window, do your tracking etc.
7. DoneNow this might seem tedious, correction, it f…. is, but the most time can be won by tracking in Resolve, plus it also looks better and is less annoying when properly tracked.
Hope this helped!
Editor/Colorist, Amsterdam, The Netherlands
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One thing I really like about Speedgrade is the color temperature control. Davinci, unfortunately doesn’t have such a dedicated knob and it’s really nice to do exactly what you need to do: change the color temperature.
Good luck!
Editor/Colorist, Amsterdam, The Netherlands
http://www.pepijnklijs.nl