[Rick Turners]

Honestly I just sold my ATI 4870, which now I am bummed about because my performance in other apps other than Resolve suffer using the GTX 285 (thanks to OSX’s horrid drivers etc)

How is the performance of Resolve 8 with an ATI card vs a nVidia card?

[Rick Turners]

I guess what’s confusing is that why does one session see it, another not? It’s been the same DPX sequence all along.

[Rick Turners]

Any other suggestions? Would be nice if I could just drag an append node to the desired shots?

So in Track, I have to add an In and Out point, create a node in Track, and it will only effect those within?

What about multiple in and outs for multiple semi global changes?

[Rick Turners]

It’s not for anything in particular, it’s just so I know the lay of the land concerning day rates.

Although I like the idea of always charging a full day rate when it only takes 4 hours, because, after all, they did block out my day for other clients who could’ve potentially paid/had work for the entire day.. but.. in reality.. I think charging for a half day seems moral.

what sucks is when you work 14 hours and they go “wow wow wow.. now your on a day rate here…” I guess 1 day is technically 24 hours?

[Rick Turners]

Thanks Charlie, exactly what I was looking for!

I cant post an image for this here, but one example is a scene of two blonde haired white people sitting on a couch against a tan wall (which the key also picks up in the facial key) Also, the girls blonde hair is picked up as well.

The wall starts to buzz as it falls off into the shadow. (I fixed this with a power window)
The faces are fine, but the blonde hair buzzes like crazy as it moves around, falls into shadow etc etc.
It’s obviously an incredible qualifier, once you know how to manipulate it properly. 🙂

It seems as though by default, if the key is blotchy it will go nuts. With some manipulation in the Key tab it seems to be more forgiving.

[Rick Turners]

That’s great. It’s certainly not in Color.

Could anyone elaborate on the process of achieving this?

[Rick Turners]

The mess of the editors? If the timeline can handle multi layers/speed ramps/dissolves as Apple Color can there is no headache. You just send the xml, grade, export xml. No need do any prep at all…
This would be nice in any package..

On the headache note, on a particular show here we are given a 30 minute timeline, solid QT, with dissolves and all the other things built into it. We chop it up, grade. When we run into a dissolve we key frame grades from one shot to the other. In Color we could paste one grade onto one key frame, paste the next shots grade on the following shot. Is this possible in Resolve (It’s not the manual)

Is there a better way to handle this workflow? (bearing in mind an EDL with handles is not an option?)

All that said, I’m overall enjoying the grading experience much more in Resolve. 🙂

[Rick Turners]

might as well throw Saturation curves on there as well. 🙂

oh oh.. and custom tangent wave mapping. 😀

[Rick Turners]

I’m looking into the future on this.. but I’ve met quite a few colorists who are doing projects in flame these days because of the amount of 3D work being done in car commercials. They are able to color grade each composited layer (the grill, rims, head lights etc). It’s a lot of control.

That said, if BMD does go as far as XML/multi layer, they may as well add a render feature like Color has to send it back, separate folders and all. 🙂

[Rick Turners]

Hi Ron,

Would love to hear your workflow for getting media/project from FCP to Resolve to FCP (with an EDL originating from the editor)

Right now I’m thinking I would get an EDL, conform in Resolve, Render to separate folders with same name, make offline in FCP, reconnect to Resolve renders? Is this the right way to go about it? (is it even possible?)

Still need to do some more testing..