Steve Macmillan
Forum Replies Created
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Thanks,
I will run a test with an EDL, and the direct import of media thru the AAF.
It is important that I preserve the resizes and reframing going into Resolve that was a big part of the offline. I’m thinking I lose that with the EDL, not to mention some clip stacks, and composites.
Steve
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Thanks,
Apparently there is a lot of on set recording at 48048 (with or without the 48k metadata flag) so that when the film is pulled down, the audio ends up at 48k.
Then there is a high quality sample rate conversion down to 48k when the project is pulled-up to 24fps for film out.
I’m still unclear what happens when you sync sound in telecine from a 48k audio recording and print to video tape with a pull-down.
Steve
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Steve MacMillan here, online editor. I just saw the YoYo website.
75% of the projects I prepare for DaVinci grading originate at FCP projects. Does YoYo read FCP XML and import all forms of QT video?
What is the price?
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Luke Masien said…
That’s right. It is essential to have one of the certified NVIDIA cards which has CUDA support. If you don’t have a CUDA card installed, Resolve will not run at all. CUDA is an NVIDIA technology which you won’t find in other brands of cards.I ran a demo on a 3.2Ghz Harpertown Mac with only a non CUDA Nvidia GT8800. It wasn’t fast, but it worked.
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What about grading 2240×960 in Color. How should the Kona be set up for that?
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The trick is you should install v30.1 or v30.2 of the RED for FCS3 plug-in available at RED.com/Support.
This will allow you to edit 4.5k M proxies and reconnect to a 2240×960 version of the R3D in Color.
A better workflow is to load your clips into REDcineX 351 and render out selects with a best light into ProRes. This will give you all of the latest thinking in Color Science. You have the option of rendering into a 16×9 letterbox which the Kona will like. And when you have locked your edit you can online thru XML back to REDcineX and render out 2k ProRes4444.
Log and Transfer with R3D files in FCP always screws up the color a bit and the debayer is not as good as REDcineX.
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I now believe that its not so much of a ProRes problem as it is that the original clip has a scale value in the motion tab. Baking it out to uncompressed flattened the scale. It seems that the Broadcast safe plug-in breaks with any scale or distortion (as in pixel aspect ratio) changes. Nesting the scaled clip and applying the Broadcast safe filter to the nest seems to work great.
Thanks for the heads up on the Proc Amp filter. Occasionally I get superblack luma errors that seem to punch thru even the Extremely Conservative setting of the Broadcast Safe filter applied to a nest. Following it with the Proc Amp filter at its default setting cleans this up without raising the average floor of the blacks (like the Levels filter will).
STeve
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I just started my own post on this.
It has been my recent experience, that rendering breaks the Broadcast Safe filter with ProResHQ. If you export a clip as 10bit uncompressed, and then drag it back into the ProResHQ timeline, add the Broadcast Safe filter and render, it works as expected.
STeve
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At NAB I was told that Resolve only supports the Decklink HD Extreme 3D card. They said that in the future Kona support may be possible.
STeve
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It seems like stereo grading is going to be a major feature included with the initial release. But I had lots of hard questions about the stereo demo I saw at NAB, and the answers were very sketchy.
It looks like most of the competition (Scratch, Speedgrade, Pablo, etc.) has a big head start in the stereo tools dept. One telling thing was there was no way to display the left eye and the right eye as two separate windows side by side for color matching.
Hopefully this is still early days, and that the software engineers are taking a hard look at what their competition can do.
STeve