[Philipp Meier]

Hey guys,

Sorry to butt into this conversation but I was wondering if any of you grade Alexa footage without a LUT in resolve? I got some footage to grade and it all comes in pretty green. Doesn’t matter if I apply the LUT the DIT gave me the build in LUT in Resolve.

So my current workflow is to place one empty node before the LUT, then the LUT in the next node, and all other nodes after that. Then I use the pre-LUT node to make some basic adjustments to level out the picture and neutralize the colors. I started working this way because I noticed that the sheet metal of the car started to become pretty flat when I tried to make those adjustments post-LUT.

Anyways, I was wondering if I should be using the LUT at all or if I should be doing the entire grade from scratch. Do you guys have any thoughts on that? It just seems a bit overwhelming to grade log-c material from scratch.

Thanks,

Philipp

[Philipp Meier]

I can see that the ki pro mini is receiving time code from the camera. However, record is still not triggered.

[Philipp Meier]

” (Keep in mind that the camera will also need to be correctly configured for this to work as expected.)”

Could you please share what this configuration is? I have tried both methods and can no longer get it to work!

[Philipp Meier]

Hey Don,

Unfortunately, I’ve already tired those settings. And I believe those settings used to work for me as well. I could kick myself for updating the Aja and F3 at the same time since I now can’t figure out which of the updates broke it.

Really annoying that this stopped working. I really hope someone has the answer. Preferably by 9am. 😉

[Philipp Meier]

I’d also love to hear a more detailed description of this particular workflow. How exactly do you select a part of the image with the cursor? Would be a quick way to get the white balance in the correct ballpark if I could simply select a white or neutral grey spot I’m the image and white balance for that automatically.

[Philipp Meier]

I just send the developer team the following email:
——–

To Whom It May Concern:

First of all: congratulations on a stellar beta release of Resolve 9. It’s such a pleasure to work with!

Secondly, I was wondering if you are planning any upcoming improvements to the Tangent Element control surface mapping. The current implementation is rather clumsy. It requires too much menu switching (overlay mode, for example, needs to be accessible from the root menu, not just the qualifier menu) and there are plenty of unmapped buttons/knobs to take advantage of.

Furthermore, new Resolve functionailty such as the s-log mode isn’t supported at all (okay you can manually mouse click Resolve into s-log mode and at least use the three color wheels, but we really should be able to tap into s-log mode and have control of all 4 wheels as well as the advanced controls such as pivot, etc…)

A user customizable set-up may be the preferred solution. However, if this is not possible at the moment the built in mapping should at least show as much consideration and polish as the reaming functionality of Resolve 9.

I’m hoping the reason for the current (limited) implementation of the Tangent Element mapping isn’t political and that we can expect improvements in this area as the Resolve Beta evolves.

I’m looking forward to your insight.

Sincerely,

Philipp

[Philipp Meier]

Very interesting discussion! This is my first time with Resolve and I’m still learning the ropes. I was tempted to export DPX with REC709 and Redcolor3. However, I understand that RedLog(Film) would preserve much more data.

Is there a RedLog(Film) LUT that I can use in Resolve once the VFX shots are returned to me? I dont think I’d be able to grade log footage so that it looks nice again. Just don’t have the experience.

Any workflow suggestions once you get those log DPX shots back from the VFX house?

(also would you recommend RedLog or RedLog film? This is for a web/tv production. Not film out)

Thanks!