[Vladimir Kucherov]

Also, if you have any say in your production’s editing/conforming process, I highly recommend you push them to use this app:

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

Which seems to be able to add timecode as well.

A client who usually brings me 5D footage recently switched to this app for their conforming. I definitely noticed a lot more room to play around with in terms of color. So it didn’t seem like just a bunch of voodoo.

[Vladimir Kucherov]

Interesting. I’ll definitely have to play around with it more – at first inspection it seemed to be doing more than just inverting. Maybe it can be used with some qualifiers for cool effect though

[Vladimir Kucherov]

Hah, that’s a lot neater of a solution than my dremeled hole with cable running through it. Where did you find that HDMI cable with the nice screw connectors?

[Vladimir Kucherov]

If you open up the conform page, it will show you imported EDL’s events (lower left hand box). Can you look to see that the event reels as read from the EDL math the reels in the clips in your media pool?

[Vladimir Kucherov]

I’m guessing NVidia wanted to stop making older GPUs and Apple reached another deal with ATI

[Vladimir Kucherov]

I think the functionality you’re looking for can be enabled by clicking

“Master reset maintains RGB Balance” in the project Settings tab. From the manual:

This control defines how the panel reset buttons reset the
primary color correction. Normally, a reset will return the
primary correction values to their default values. When this
option is selected, reset will function as follows:

1) Clicking the master reset key will reset the YRGB values so
that the overall values are kept and the ratio of YRGB to each
other is maintained.

2) Clicking the RGB reset button will find the average value
of RGB, and set the RGB to that value.

[Vladimir Kucherov]

I’ll try to replicate this and see what happens. One question – what framerate was your timeline?

[Vladimir Kucherov]

I agree, the Wave on Color was definitely very efficient. Resolve’s use of it is getting better but still not quite there.

I would say that for everyone who can’t afford the Resolve Panels yet, defintely get the G20 keypad. You get 20 some always there keys for things you need ALL the time. It’s definitely a must.

Jack, if you at all feel like it I’d love to see a detailed review of the Resolve panels at some point, maybe even with shiny pictures?

[Vladimir Kucherov]

I think the majority of your problems are addressable. Here’s what I can remember off the top of my head:

1 (ref video scrub): this definitely works. The 2 videos scrub together. The key is to have the timecodes match. A lot of times your EDL timeline starts at hour 1, and the quicktime at hour 0. Changing qt timecode to start at 1 is usually the first thing I do. Also, you could be in “source” mode or whatever that’s called, where you scrub only the offline. But all things working, they should scrub together.

2 (pan, resize): you can enable your offline as your still on the color page. You play a still, then under still mode (one of the right hand menus there) choose “offline” – then you can do either a wipe or overlay (overlay makes repo pretty easy)

2.2 (replacing r3d with dpx) – I think you can use folders for this. In the media manager, create a new subfolder, call it “r3d” or what have you. Then drag all your source R3Ds in there. Then, effected shots can be placed into another folder “vfx” – you should be able to then click on your timeline, and say “reconform from folder”, pick “vfx” and it will reconform everything it finds in that subfolder.

As far as your work with roto and power windows, I can’t say too much since I’m not too clear on what exactly you were doing. But I do believe there’s shortcut to directly add a dissolve dynamic, as opposed to changing it to that later on. I could be wrong – I’ll have to check that tomorrow.

But I’m really glad to hear that even with all these issues you had you were still able to meet delivery turnaround and sound happy about it! Congrats

[Vladimir Kucherov]

I agree. It’s almost easier to grade without handles, and then create an EDL for just your transition shots, which you can edit on top of your transition less grade out. At least then you’re not re-creating the whole timeline in FCP.

What’s weird to me is that without this feature I’m not sure how I’m supposed to do anything with handles – usually I get asked for handles only if the client wants to be able to tweak the colored cut a few frames here and there if necessary. This usually means they want an FCP timeline with graded clips linked up. Unfortunately I don’t have a good way of doing that right now.

Actually Blase Theodore was discussing this shortcoming before and this was his one solution:

https://forums.creativecow.net/readpost/277/2649

I’m not sure how well it would apply in your case though.