Sascha Haber
Forum Replies Created
-
Use After Effects 🙂
No, seriously, i think it’s a Nuke problem…Smoke also won’t work at the same time, i think only AE is able to release it.
Resolve 11.2 – Smoke 2015 EXT1SP2 – Sapphire 8
Colorist / VFX Guru / Aerial footage nerd
https://vimeo.com/saschahaber
https://dk.linkedin.com/in/saschahaber -
Well, I get the exact same numbers running two GTX680 with 1560 CUDA cores.
You have 3000 so it makes sense.
Nothing crazy , i agree, but a nice system to work on.Resolve 11.2 – Smoke 2015 EXT1SP2 – Sapphire 8
Colorist / VFX Guru / Aerial footage nerd
https://vimeo.com/saschahaber
https://dk.linkedin.com/in/saschahaber -
If you make a file with the same specs, flie name and such Resolve should just be fine and read that one.
If not you still might be able to do a ColorTrace if the TC is the same.
I tend to save out an EDL and apply that to a source file, i never use Clip to mediapool as this kills the option to fade from one grading to another.Resolve 11.2 – Smoke 2015 EXT1SP2 – Sapphire 8
Colorist / VFX Guru / Aerial footage nerd
https://vimeo.com/saschahaber
https://dk.linkedin.com/in/saschahaber -
Easy, we did this for VFX heavy jobs with folders.
You have to make a couple of folders, the first one called something like Shot_001_working and then add folders for every new version you are getting.
The files in the folders always keep their names…
So for example Shot_001.0001.exr
You are then overwriting the files in the working folder, manually or using delivery scripts from Nuke, Generations, Scratch….whatever.
Resolve has the working folder in the timeline and always will use the files for grading.
I do not know much about Premiere , but I think you might be able to design a similar workflow with media files.Resolve 11.2 – Smoke 2015 EXT1SP2 – Sapphire 8
Colorist / VFX Guru / Aerial footage nerd
https://vimeo.com/saschahaber
https://dk.linkedin.com/in/saschahaber -
Funny, i just had the same issue with XDCAM source files and blamed the long GOP structure.
But R3D ?? Strange..Resolve 11.2 – Smoke 2015 EXT1SP2 – Sapphire 8
Colorist / VFX Guru / Aerial footage nerd
https://vimeo.com/saschahaber
https://dk.linkedin.com/in/saschahaber -
Well, i suggest you go and buy a book about the wonderful world of video.
For example :
https://www.amazon.com/Digital-Compositing-In-Depth-Production/dp/1576104311
Or as good as
https://www.amazon.com/Color-Correction-Handbook-Professional-Techniques/dp/0321929667/ref=sr_1_1?s=books&ie=UTF8&qid=1425581617&sr=1-1&keywords=HurkmanThe thing is, there is no right or wrong, no this or that.
Some people need video level, some need data, some deliver video and want data or the other way round.
You need to be able to spot the difference, trust your system and even more, your instincts.
Like when you get stuff from “camera people” or AVID people its 80% video level..
But then ? Does it go broadcast, or film, or web ?Seriously, buy those , spend some time with them, and it will get clear.
For now, never trust QuicktimeResolve 11.2 – Smoke 2015 EXT1SP2 – Sapphire 8
Colorist / VFX Guru / Aerial footage nerd
https://vimeo.com/saschahaber
https://dk.linkedin.com/in/saschahaber -
I guess he is also asking about media..
So either consolidate the timeline(s) or detach the Raid.
Alternatively use https://www.niwa.nu/resolve-collect/ for non-timeline media.Resolve 11.2 – Smoke 2015 EXT1SP2 – Sapphire 8
Colorist / VFX Guru / Aerial footage nerd
https://vimeo.com/saschahaber
https://dk.linkedin.com/in/saschahaber -
Sure thing…
That what Color Trace is for…
It has two modes, automatic and manual.
In automatic you are in need to deliver the same TimeCode or/and Reel ID.
Than it is done in a couple of clicks.
If you delivered 4 reels last time you probably have to do it manually, or visually by having both the old and the new timeline in the CT window open and drag the gradings over.
If you only changed the editing in certain places they will probably isolate them and do the CT just there.
It’s pretty painless still.
But, in case you are on a no-budget and plan to “be creative” with your edit changes until the last minute more than once, consider delivering single shots next time.
That long-reels-workflow is more a delivery than an intermediate solution.Resolve 11.2 – Smoke 2015 EXT1SP2 – Sapphire 8
Colorist / VFX Guru / Aerial footage nerd
https://vimeo.com/saschahaber
https://dk.linkedin.com/in/saschahaber -
Yeah, i agree.
One way is to just export a flat video to ProRes422 from the whole edit, split it up into clips or use an EDL and grade away.
Then, wenn they are happy with the actual grading export non-retimed clips from FCXP , apply your grades with Color Trace and give them back to FCPX using the commercial workflow.
I know, it a lot of manual work but it gives them a lot of flexibility in editing.
Not sure how FCPX is handling file management, but on AVID we would just collect the retimed clips into a bin and consolidate to a folder for exchange.
Then we would relink afterward to the graded versions.Resolve 11.2 – Smoke 2015 EXT1SP2 – Sapphire 8
Colorist / VFX Guru / Aerial footage nerd
https://vimeo.com/saschahaber
https://dk.linkedin.com/in/saschahaber -
I would stick to the term “missing and much wanted feature ”
But in the long run, I want to click on a clip in the edit page and Fusion 8 opens and i CAN do proper compositing.
Like in Nuke Studio….that is where the bar is right now.Resolve 11.2 – Smoke 2015 EXT1SP2 – Sapphire 8
Colorist / VFX Guru / Aerial footage nerd
https://vimeo.com/saschahaber
https://dk.linkedin.com/in/saschahaber