Thomas Wong
Forum Replies Created
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wow, that really blows that you can’t use it in our chassis. but i guess it’s still cheaper than a full hardware waveform monitor…
but the scopes are real time and accurate correct? and it will respond accurately and properly to RGB or 444 output?
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Yeah, not disagreeing with anything, but the client wants what the client wants right? I think we might go uncompressed quicktime at the end of this. They can re ingest in FCP that way, go into their VFX software, re transcode certain sections to pro res 4×4 if they need to for easier formats, but it will keep it as lossless as possible. I just wanted them to give me a fully finished product so I could render out DPX and avoid any QT gamma issues that might arrive and ruin my hard work 🙁 they could always re render the dpx to quicktime out of after effects. But I guess you can’t win every battle.
this leads to my last question though. I currently have a hdp2 to dreamcolor set up. it does dci p3 emulation, and I know that is a digital projector emulation and I should grade with that setting on my monitor is the destiny of this film is for digital projection. My question is, how vastly different is this emulation compared to rec 709? Do i have to do 2 separate grades, or if it comes down to 709 standard on let’s say blu ray, it won’t look TOO different.
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well with the fact that FCP might confuse the clips if multiple shots were used from the same source clip. and even if I run commercial mode, a lot of re linking manually will have to be done. I won’t be too critical on this though, it’s what the client wants, and they are the ones that will have to relink everything manually. I’ve expressed this and they don’t mind. I’m just making sure everything I get into and out of Da Vinci will be prim and proper!
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thanks Vlad, you’ve been a huge help, I think that’s the best course of action. leave the complicated stuff out of the primary sequence and grade the other stuff separately and have them drop it back in when they are ready to. Saves everybody time, headaches, and money.
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client wants to work with as much r3d files directly as possible. this grading session will be 98% grading with r3d. with just a few b-roll shots on hvx200 and ex3. so if speed changes are there I’d probably have to remove them if they are gonna conflict with the r3d session. than i’m gonna render out either as dpx or uncompressed quicktime. probably both. trying to avoid pro res ingests and outputs as much as possible as the DP explicitly asked me to have the final delivery in absolute lossless quality.
lot of moving parts to deal with…
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the VFX shots haven’t been done yet, and they haven’t even created the fully debayered quicktimes for the work yet. It’s a 3 day session, that’s all they can afford, so I think their intent was grade the shots first, and the vfx guy can match the vfx to my grade, and since I’m running a rocket I can get those clips out to him faster…. I’m in discussions with them right now and trying to do the one big timeline out of Resolve method. It’s gonna save so many headaches.
I’m more worried about speed changes, some b-roll they shot from different sources, and matching their scaling and movements that won’t carry over the EDL. I think I’m gonna ask the editor for the drive with everything on it a few days early just so I can play around with different conform options on my own time.
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oh wow, had no clue it would render out that way, got a lot of playing around to do before my first session with it. the issue is the client is 100% done with the film yet. picture is locked but certain vfx plates have to be still put together and inserted in the film. this is gonna prove to be tricky. I think the best course of action to eliminate the most amount of error and give the edit flexibility in making changes are.
grading the sequence without the vfx clips, and leaving transitions (and speed changes if they say applied) and also removing the scaling and movements.
grade that sequence, re-apply the scaling in resolve itself, export that out, hopefully edl method in the conform page can be brought back into fcp, if not relink manually to with render source clip method, in commercial mode.
than grade the vfx separately in it’s own sequence and the vfx team can apply the vfx to it and match to the grade i did, and editor and insert those clips.
I was also thinking of exporting as blackmagic rgb 10 bit out of resolve when fcp onlines, to keep it as lossless as possible. fcp won’t take in DPX so if anybody as any better suggestions (pro ress is arguably still lossy) please chime in.
and if anybody has a better workflow than this, please feel free, I think this is all really important info.
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Hey thanks for all the help! a lot of that was exactly what I was looking for. Just to clarify what do you mean the speed changes can be very rough? Do some clips work and some don’t? does the speed change translate in resolve itself so you see it slow or fast in Resolve? or does it just re apply the speed change no the render?
can I add handles on the individual clips I expert?
kind of blows I can’t create a new edl to ingest back into fcp, I can just imagine it being a media reconnect nightmare…
some other things I’ve been wondering about. Is there a batch looks ability, and render out from source files. Meaning similar to speed grade, i can just apply 3200k color temp to a whole bunch of files and export them right away to a offline codec. Is it possible to use Resolve in such a respect? Just applying 1 light grades to RAW files and batch exporting them?