[Vladimir Kucherov]

There is also an app that Resolve installs which has a graphical UI for backing up the database:

it’s called pgAdmin3.app, located inside Library/PostgreSQL/8.4/ folder

[Vladimir Kucherov]

I’ll look for it.

You’re right the MX is a lot cleaner, but I have also noticed a much expanded histogram.

The more I think about it the more technically complicated this feature seems – you’ll basically be decoding the source 2 or more times in one shot, heavily taxing cpu/red rocket power, and essentially have to introduce true compositing features into Resolve.

Now hey, I’d love some node based compositing in my resolve since the keying and tracking are already so badass but those are dreams 😉

[Vladimir Kucherov]

For some reason that was my impression of what Power Grades are for – no? You develop look grades that are meant to go over balanced footage and “just work” – but I’m surprised there is no “append” shortcut yet.

[Vladimir Kucherov]

I’m curious, have you done this with the new MX sensor? It’s range is larger (and the Epic will be larger still) – and I wonder if it won’t become more of an issue?

[Vladimir Kucherov]

Actually I would go a step further, and ask for the ability to turn on R3D settings per-node. How amazing would it be to be able to pull down a matted sky at a lower ISO in a shot?

That and, I think it would be correct to put those settings on the main interface instead of a popup. Especially with new sensor cameras I think it will be more and more prevalent to use R3D decoder settings as part of every grade creatively, as opposed to set-and-forget.

I have no idea how crazy of a suggestion that is in terms of technically implementing it but it’d be killer

[Vladimir Kucherov]

I’ve never gotten it to play, but if you go to the middle of the shot and click it on and off, it will refresh to the correct frame.

[Vladimir Kucherov]

It’s a little counter intuitive but –

1. create a still
2. play still
3. change still type to “offline”
now the still that plays will be the offline clip loaded. you can change wipe type to vertical, horizontal, or mix.

[Vladimir Kucherov]

If you want to try a reconnect workflow with original clips instead, I would do this:

Export your EDL normally
Import clips into media pool based on EDL
Load the EDL and grade normally, ignoring that speed effects may be not correct.
For output, switch back to the master session. The master session will only have the full takes of whatever’s in your timeline. Render this in source mode keeping original filenames.

You should be able to reconnect the rendered footage in place of your master clips in FCP, and hopefully get all your ramps too. The only downside is you’re rendering full takes which depending on the show may be a while.

[Vladimir Kucherov]

Maybe this is a bit of voodoo magic, or a placebo, but I thought grades done with this held up a bit more than what I usually get with 5D/7D stuff:

https://rarevision.com/5dtorgb/#features

https://rarevision.com/5dtorgb/comparison/

[Vladimir Kucherov]

It might also depend on how the TIFFs are saved. I was pulling stills from photoshop into Resolve yesterday and those exported with sRGB shifted gamma and hue, those that were saved with Adobe RGB were visually identical.

Although now Resolve supports TIFF sequences natively which is very nice