[Phil Side]

[David Roth Weiss] “For accurate color display for professional color correction and grading you must use one of the Blackmagic devices I mentioned above with a calibrated TV or broadcast monitor.”

Hi, I can’t see the list of devices you are referring to. I’m looking to attach an external monitor to a Windows laptop. Thanks.

[Phil Side]

Yes, it was a typo for the timeline size. It’s 1920×1080. There’s no transformation being applied to the logo. Width and height and zoom are all 1.00

[Phil Side]

Hi Edward,

I got it working using The Foundary’s Camera Tracker. What I’d like to do now is to get the text to cast a shadow on the footage. Do you know of anyway to achieve that? I’ve seen it done using Cinema 4D, but that’s beyond the budget I can put into this.

Thanks,
Phil

[Phil Side]

Thanks for the reply, Edward. Could you expand on what you mean by having the camera parent the tracking data? The tracking data needs to be applied to an object – the camera? a null? the ProAnimator object?

[Phil Side]

No response from DaVinci to my e-mail, so I’m at a bit of a dead end. I don’t think ProRes is an option, because as far as I know, I can’t transcode into ProRes on a PC.

[Phil Side]

Thanks for the reply. I did try nesting the sequence and sending it, but that too lost the Premiere effects. I eventually ended up regrading it in AE. Regarding why not colour correct in AE, I just find it simpler to do as much as possible in one program. I was happy with the grading I’d done in Premiere, and I just wanted to use AE to add a title. I didn’t realise AE would strip the Premiere effects. I might rethink how I work in future.

[Phil Side]

They are applied in Premiere, yes. But I want to take the clips out of Premiere and into AE, so that I can add a title. If I choose “Replace with AE Comp”, then the effects I’ve applied in Premiere disappear in both AE and Premiere.

That is, I apply effects in Premiere, then open in AE. At that point the effects on the Premiere timeline disappear, because the clip is replaced by the AE comp, and the AE comp had removed the effects.

[Phil Side]

Hi Gaz, I am using the DSLR footage straight out of the camera and, as you say, the root of the problem is the lack of timecode. There is an option on the config screen “Use Timecode: From the source clip frame count”, which I thought might create a kind of pseudo timecode, but it didn’t get me any further.

I’ll think about transcoding to ProRes and using QTchanger next time, but I’m really wanting to keep a quick, streamlined workflow. I’ve e-mailed DaVinci asking if they have a recommended workflow for Premiere/DSLR users, but no word yet. I’d imagine that with the release of Resolve Lite, there will be quite a number of new users wanting to use a similar workflow, so I’m hoping something might be sorted out, if not now, then in the not too distant future.

As things stand, I’m putting Resolve on the back-burner for a while, but keeping an interested eye on developments.

[Phil Side]

I’m not monitoring through a Decklink card, but according to the config guide, I shouldn’t have to. I am using a calibrated monitor.

It sounds as though we’re both seeing the same thing when the output render is set to “scaled” – low contrast, low saturation. I have tried changing the scaled/full setting on the Video Monitoring tab. It didn’t seem to have much effect, certainly not the same effect as making the equivalent change in Render tab.

[Phil Side]

I’ve tried exporting in XML and AAF. They both work to an extent, but they do throw up quite a few errors. It’s not clear to me how to work around the errors, but from my efforts so far it seems that it’s going to be a time-consuming exercise.

I’ve spent a couple of days trying to get up and running with Resolve, and I’m thinking I may stick to grading in Premiere, at least for the time-being.