[Riccardo Luppi]

Hi Norman,

Could you explain a bit better what you are looking for? You are talking about a videographer to finish an edit. It seems like you are confusing the roles a bit there. A videographer is someone that, although might work in post as well, focuses mostly on the production side. A common definition of a videographer would be the “one-man band” that takes care of writing, prepping and shooting a video, all by themselves with the help of none or very few people. If you are looking for someone to come and shoot interviews/broll, then a videographer is indeed what you might need.
Still, I believe that what you are looking for is simply an experienced editor with a good understanding of storytelling and possibly the skills necessary to research stock coverage.
Either way, please consider that quality comes from experience and that usually does not go along with low budgets. You might find someone willing to work at a lower fare but keep in mind that it’ll probably mean long, dilated times for deliveries.

[Riccardo Luppi]

Hey Jeff,

if what you are looking for are templates, I would suggest looking into motionarray. They offer a monthly sub with unlimited downloads. They have a great variety of tools, from openers to transitions and titles.

Another resource that I would point you to is the youtube channel JayAreTV. The guy is great and has a ton of tutorials on how to make your own presets, which can truly free your creativity.

Hope this helps!

[Riccardo Luppi]

As Tom said, video has no dpi. On the other end, though, given a resolution, increasing dpi will reduce the print size. To counter that, I would suggest using Photoshop’s upscale function. This way, you can easily double the size keeping the same dpi value.

[Riccardo Luppi]

Hey Phil,

The resolution of the stills you grab is dictated by the resolution of your timeline. Thus, the best solution is to set your timeline to the same resolution of your footage. Tiff is a pretty good choice. Png is also a solid choice as it is lossless.

Hope this helps!

[Riccardo Luppi]

Hey Sam,

you can easily rename the files once inside Resolve, while keeping the original name intact.

To do that, my advice would be to follow this workflow:

– Open up DVR and go to the media page.
– Import the clips
– Open up Resolve’s project settings. Under General Options there is an option to “Assist using reel names from the” select “Source clip filename”. This will allow you to keep the source name as the reel name for backup. Save and exit the project settings

Now you can either rename the individual clips on by one by clicking on the name in the mediapool, or batch rename them based on metadata.

To rename through metadata, first open the metadata tab and inject whatever metadata you need (ex. camera #, angle, scene etc). Then select all the clips in the media pool, right-click and choose “clip attributes”. Here you can type in a standard clip name using % to recall different metadata tags.

ex: %camera#_%angle_%reelname will rename each clip as CameraA_Wide_A001C001, CameraB_Medium_A001C002 ect.

Hope this helps!

[Riccardo Luppi]

Hey Jim,

Personally, I tend to use the CSTs when grading because, as a colourist, I like to have full control of the transform functions. That said, it requires a bit more understanding of the said transform functions, as well as a bit more time to set them up correctly. if you are interested in knowing more about the CST, let me know!

one thing that I noticed in Faucher’s process is that he is setting the output to Rec709. You should set it to Rec709 Gamma 2.4 instead.

Finally, I would probably recommend you use the ACES workflow, as that allows for more colour fidelity when moving from one software to the other. This last part, though, is not mandatory.

[Riccardo Luppi]

Hey Gary,

As Michael already cleared, projects are not backwards compatible. If the folder structure in the Mediapool is what you wan to preserve, you can use the Media Management function.

Oper up the said project in DVR18, go to File and select Media Management. Set that up as shown in the screenshot. Create a leading directory for the location. This will create a copy of all your project media, preserving the folder structure you created.

Then, in DVR16 open a new project, and in the media page locate the directory you copied the project into. There, simply select all the folders and right-click on them, then choose “Add to Mediapool (create bins)” and that should be it.

Then, as Michael suggested, you can use an XML to bring in your timeline and CDLs to transfer the grade.

Hope this helps!

[Riccardo Luppi]

Hey Jack,

hope you have solved the issue by now. If not, what you are experiencing is interlacing. To avoid it, in the project settings, master settings, make sure that “enable interlace processing” is unchecked and that the video format is not set to any resolution with an i (interlace) suffix.

Hope this helps!

[Riccardo Luppi]

Hi Federico,

The sound library tab allows for search only by Name and Description (or both by selecting All Fields).

For your specific case, I would suggest two possible solutions:

– Add a new sound library that links specifically to that folder. To do that, open the sound library tab and click on the three dots in the top right corner, then choose “Add Library”

– Add tags in the name of the files as you would for keywords. Ex. have all animal sounds named animal_nameofthespicies_volume_lenght etc.

Hope this helps!

[Riccardo Luppi]

Hi Jim,

From what i can see from your screenshot, the issue is with how you set up your secondary windows. Right now you have inverted them. To subtract them, you actually want to select the mask icon, next to the inversion one (see the attached screenshot). Once you do that, the result of the masking should be visible as you connect the alpha of the node to the alpha output of the node tree.

As for the OFX, that depends on which one you are trying to use. Some already have a built-in checkbox that lets you decide if the mask should affect them or not (usually at the top in the inspector. Others might not have that and will have to be delt with in a different way. An example would be to add a layer node and have the mask inverted affecting that layer so that the OFX only shows where the mask is. If you could specify which OFX you are trying to use, I could be more specific.

Hope this helps.

Best,

Riccardo