Vladimir Kucherov
Forum Replies Created
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I still have this problem rendering R3D at premium quality maximum speed on my 2008 station. I don’t know if that issue is related to that. But I do get the same error message.
The only thing that helps me is throttling render to 2 FPS (maximum for me goes at about 4-5), so that it never bottlenecks.
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I’m not sure if this would be applicable (or if you specifically need Uncompressed format), but Quicktime itself can open TIFF sequences as “image sequence” – then you can do a save to that sequence and it will be a .MOV wrapped “TIFF SEQUENCE”
I used it to conform alpha mattes for a feature a few months ago. Wrapping it in quicktime this way didn’t modify the original files in any way but allowed it to be used in any Quicktime friendly application.
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Well heck, if you don’t mind rendering out everything, what I would do is remove all shots not used in your show from the browser so that your master timeline has only shots you need.
Then grade EDL as usual, but instead of rendering the EDL, render the master timeline. If rendered in Source mode, THAT should link perfectly to FCPs original timeline – you’ll just be doing a lot of rendering.
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I would suppose you could just render out your timeline as one quicktime with black over where VFX go and they can drop those on top. Again, just to save the relinking headaches.
As far as speed changes, I would ask for them pre-baked. Or if its Red and you have to online, I would make a new timeline with just speed effect shots (and speed effect removed).
The reason is, Resolve just does very simple speed effects (frame duplication and removal) – things tend to look rather not good.
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Hmmm. Is there a reason you can’t export the final straight from Resolve?
I would drop the entire timeline into Resolve, grade as you need to. When you get VFX shots, cut them into your timeline in Resolve, and grade those too. Then you can just render out the entire show in one go and not bother relinking anything.
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Especially in the indy world, that’s where a post production supervisor is really needed. Generally on smaller indie projects I play the post soup, colorist, and finisher all at the same time. That way I get to talk to the editor from the start and make sure he sets up his project in a way that won’t be hell for finish.
I’d say it would be nice if all editors would think of the finish and coloring process but there’s no way to guarantee that.
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No, unfortunately Resolve will only handle 1 layer of video (plus simple dissolves)
I would put each video track in its own EDL and bring them into Resolve separately.
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The problem with using the same EDL (or timeline) comes when you’re working with master clips that have been cut up throughout a scene.
Say you have an R3D shot used 3 times in the cut. That means, on render out, DaVinci will try to make 3 files with the same filename (what’s worse is, if you don’t have “put in different folders” turned on, it just overwrites the same file and you lose 2 of your renders).
Unfortunately, FCP still expects 1 file. It’s not smart enough to ignore what file what comes from and go purely from timecode. So relinking would be manual at best.
Things get worse if you want to give the finishing guys a program with handles.
That’s why with Resolve I usually try to be the last link in the chain – it’s a lot easier to render out the final program in Target mode.
And Ola,
Although I haven’t done this myself yet, I think all you do is click on “Use Commercial Workflow” on the render screen, and check “clips in separate folders” and “use version name for folder”
That way each of your grade versions end up in their own folder during render.
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1. In my experience the EDL perfectly handles fades and dissolves, and will correctly time speed changes. The speed change method is very rough, so in most cases you will still want to do the final render of that in After Effects, but the timing will be correct and it’s fine for grading.
Zooms and pans have not carried through for me, but they are easy enough to recreate with overlay offline mode.
2. As long as all your media has a relatively simple reel extraction procedure, you’ll be fine. As mentioned in previous posts, R3D/DSLR mix tends to work just fine.
3. Resolve can render out the full program as one quicktime, or render out individual clips in source render mode.
In source mode, the clips will be named the same as their original source clip, and can be placed into individual folders (you can even render out all your grade versions at the same time)
The problem with this render is it’s not easy to take it back to FCP. I don’t think there’s a way to generate an EDL that will relink a new FCP sequence to your output footage, etc.
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Ah, this tidbit seems to shed light on something that was mentioned in a previous thread:
“each Trackball and Master level set has two reset buttons.
The ring button will reset all.
The dot button will reset the RGB values.
selecting alt, then the dot button will level all the values”I’m really happy with the new configuration though! I can now move more common items off the G13 and replace them with lesser used items