Hey mate, I would suggest you check this page: https://another-davinci-resolve-blog.blogspot.com/2021/03/davinci-resolve-expressions.html
If you search for random, you’ll find a couple of expressions that should work for you, especially this one: :randomseed(floor(time/6)) ; return random()

If you want a tutorial on how to use this expression, I…

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What Michael is suggesting is partially correct: the luma keyer on the adjustment clip is blurring certain areas and mixing them with the black underneath. The issue is that even if you duplicate the clip, that won’t solve your issue as the adjustment clip affects all video lines beneath it. In short, the luma keyer is not ment to be used on an… Read more

Hey mate, are you working with reels or editing everything in one timeline? Are you working on a 1080p or 4K timeline? Looks like a graphic bug to me and it might be related to the size of the individual timeline compared to the capabilities of your system.

Hey mate, could you be more specific or post a magnified image? The screenshots open quite small and at a first watch they look ok to me.

Have you tried to change the resampling filter to Mitchell or Lanchzos?

hey mate, which camera model is it? What firmware version?

Hello Aldo,

may I ask how the proxies were generated in the first place? Are you using the Media Management tool to relink to the original files? If so, how are you doing that?

Cheers!

Hey mate,

unfortunately, I only saw your post now. Hope this is still relevant! Anyway, in the Compositions Settings section, you want to check the EXport metadata package. That should allow you to generate the VOLINDEX.

Hey Aron,
This requires some roto to cut yourself out of the video. If you have the studio version of DVR you can use the magic mask for that and it should be fairly simple. If you are running the free version, though, it’ll take a lot of time. Let me explain how this works.

The first thing you need to do is to duplicate the recording two times and…

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Hi Tim,
what you need to do is, in fusion, select the text node. Then right-click on the text box in the inspector and choose “Character Level Styling”. Then you’ll be able to select parts of the text (from the screen, not from the textbox) to change them individually. You can also keyframe the changes from the modifiers tab.

As for the edit page,…

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Hey mate, you need to close the mediapool

Hey Mark,
there are a few different ways to do it.

The easiest would be to find something on Motionarray or Envato elements, like this https://motionarray.com/davinci-resolve-templates/scribble-hand-drawn-titles-1567934/?q=scribble

The second method you could use would be to hand-drawn the title a few times and scan them, create pngs and put them one…

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Hey Tim,

You can close the clips on the main monitor and open the lightbox on the second one. That is really the only thing you can move.

Still, I would definitely advise you to buy a third monitor for a full screen preview. The viewers in davinci are not accurate.

Have you tried uninstalling them and re-downloading the newer version?

Hey David,
I was indeed referring to Catalyst Browse. Unfortunately, I experienced something similar to what you are. I am on Windows but similarly, Browse would constantly crash/not boot. I figured it was because I was trying to load files that were stored in the cloud. Apparently, that makes the program crash. Before I discovered what the issue…

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Hello Jon,

There are several free resources online, as well as paid ones.

For free, definitely Darren Mostyn and Cullen Kelly.

For paid ones, one of the best sources is Dado Valentic’s Colour Training. Demistify Colour is great as well.

The only thing that I can think of that could make that happen is if the scaling for the clips is set to Fill instead of Fit (see screenshot). You can double-click on the clip in the mediapool to open it in the preview and then go to the Inspector. Scroll down to the Retime and Scaling menu and check that. If it is not set specifically to Fit,…

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Jean that is just a technical matter. If you were to scale down the PGN to 1080p 72dpi in Photoshop, you’d get the same result. It is the same as watching a video in 1080p or 4k. The difference is visible but it is not due to the quality of the files themselves, but to the fact that you are comparing them to a file that simply has more resolution.

Hey Julian, question: to open up the file in the preview viewer, are you double-clicking on the file in the mediapool or on the one in the timeline?

Hey Antony,
SDR film scans are in Rec709 colour space. Thus, in the IDT you should set the Input colour space to Rec709 and the input gamma to Cineon.
Best,
Riccardo

Hey Jean,
As I mentioned in my previous message, if you export to 1080p you will get a loss of quality, regardless of the kbps. That value ensure the best quality possible for a 1080p web file. But the amount of pixels in the image cannot change. You also need to keep in mind that a .png graphic is 300dpi, while video is 72dpi. Thus, you are…

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Hello Tim,
yes there is. You need to go to the “Workspace” menu, go over to “Dual Screen” – which needs to be active – and there enable “Full Screen Timeline”

Hey mate, so the mV are a scale that little has to do with how we normally describe luminance in film. it refers to the voltage of the signal acquired by the sensor. That said, the 0.7mV refers to the black level they are expecting, but they should have a sheet that states also the IRE level they are expecting. That is what you should ask. Cause…

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Hey mate, what you can do is actually add an alpha output (right-click over the node area and select “Add alpha output”). Then create the isolation mask, as you are currently doing, and finally connect the node’s blue output to the alpha out. This way you’ll get to monitor only the isolated area but as the final out and not the log.

All this ti say that I believe you are currently using the highlight mode and thus you should deactivate that. As it is also common practice to preview the final rather than the individual nodes

Hey Antony,

The vectorscope monitors the final output. Thus, if you have the Rec709 conversion in place, the vectorspoce is monitoring that. The only case in which you can have the vectorscope monitor the individual node signal, is by activating the highlight mode (Shift+h on the keyboard). In that case your preview will change as well and you…

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Hey Steve, I never used the depth map in fusion. What I can tell you, though, is that usually it works only if the depth map node is put in serial before the node that needs the alpha information. I still believe that is a bug, as logically does not make sense to me, but it is what it is. That said, given how complex the depth map is to run, I… Read more

That is actually due to the mp4 compression at 1080p. I would suggest to set the quality to 40000 to ensure the best quality for web. Other than that, there is not much you can do, unless you export to 4K

Hey,
so just to clarify, are you looking for an app to use on your xbox to play videos, or for a machine (PC, PlayStation, blueray reader etc) to connect the USB to?

Hey mate, what you should do is grade normally, export you file in 10but 422 and re-import it in DaVinci. Then go into your settings, colour management, and check the “broadcast legal” checkbox at the bottom of the page.

Then re-export the file to whatever format the network required.

Hey mate, I did some further testing. The png was exported in AdobeRGB. DaVinci can not interpret that without a plugin/DCTL. I attached a LUT that converts from AdobeRGB to sRGB. With that, you should get a proper visualization – it is working on my end

Hey mate,
just making sure here, are you checking the DCP from a projector or from your display?
Also, please keep in mind that a projector will always make the image look a touch darker than a display, as you are looking at reflected, not emitted light. That is why you usually do a theatrical QC pass for DCPs

It is indeed the tagging issue. Use this jpg: https://we.tl/t-dI5cEghEjY
this will be correctly read by DVR.

Could you link the original file here? I would like to check it out offline on my end!

Hey mate, does the image look correct in you viewer in DaVinci in the first place? DaVinci has an issue interpreting images if their metadata has not the sRGB tag. If that is the case, what you cam do is simply import the png into photoshop amd then save it as JPG. That will add the proper tag to the image and it will be displayed correctly in DVR

Hey Mate,

switching to a mirrorless camera would definitely be the way to go. Personally, i would advise to go for the R8 over the R6. The R6 is a bit outdated at this point, at least for its pricepoint. Unless you are looking for the R6MkII. Basically, the R8 is a lightweight version of the R6mkII. The downsides to the R8 are the smaller battery,…

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Hey Ben,
these are my two cents from a colourist perspective:

– First, establish a colour pipeline with the colourist. With VFX, the best bet is ACES. This way the colourist can work in log and you can work in linear for VFX.

– No need for RAWs. You can work on Prores4444 XQ files and those will have all the information you and the colourist need.

…

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Hey mate,

Yeah that GPU is a bit old at this point. With your budget I would recommend either an RTX 4070 or 3080, depending on what you can find.

That said, may I ask:

– what are the CPU and RAM?

– where are you shoting the files you are using?

Because yes the gpu is old, but should be at least usable.

Cheers,

Riccardo

Hey Rohan, as far as I know those markers are stored as exif metadata in the XML of the clip. Thus, DaVinci is not able to read them. What you could do is not the timestamps for the markers and later add them into DaVinci manually.

Hey Cali,

so depending on the software you are using, the method might vary.

When using Lightroom, the software automatically overlays a grid over your image. If you press “O” (o, not zero) on the keyboard, you can switch between different overlays and one of them is a much thicker grid – the number of squares depends on the actual size of your…

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Hey Kelly,

Here you can find download links to all versions backwards till V7: https://www.steakunderwater.com/wesuckless/viewtopic.php?t=3444

For older versions, I would suggest contacting Blackmagic directly. They most probably have a .exe archived that they can send you.

Best!

Hey Anthony,
Here are my two cents as a colourist: first of all I would not bother trying to “fix” the flare, both in contrast and colour shift. It is part of the shot and its beauty. I would probably park on a frame that has no flare con correct the shot based on that frame so that the flare naturally falls into place where it makes sense. Just…

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Hey mate,
so in order
– for the CPUs, you mentioned the under 400USD price range. Most of the CPUs in the list are well above that pricepoint. Core count really matters with DaVinci, same the CPU cache. Puget Benchmarks are valuable but are just that. A real-world usage can differ because of, mostly, sustained load on the processor and multiple…

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Hey Peter,
could you add a screenshot of your export settings from DaVinci and one of the error you get in Premiere?

Usually, .mov files should not be a problem for Premiere, even if alpha is involved. That said, you could opt for an alternative route: exporting a normal video (with black or even normal background instead of alpha) + a matte from…

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Hey Derek,

so Interl does perform better on the newer processors, but for the past generations that is not the case. Since you are on a budget, it is the safest bet to go on something a bit older but still very capable, like a Ryzen9.

Please remember that GPU acceleration matters mostly when OFX-heavy grading is involved. For editing and most Fusion…

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