Margus Voll

Can you show screenshot of this ?

Yes like Mix mode in some other platforms. Helps a lot.

That makes a lot of sense. Thanks!

Some speculate Scope box update might come in near future. IBC seems to be behind the corner or year end. I'm exited about it a bit. Sent from my ONEPLUS A6003 using Tapatalk

This is those moments when "of i see" in life.

Im wondering the same thing if PPro could handle it in such way and if not then that would be something of a strong point of Avid which is not talked much usually.

Dailies have been covered in Scratch Vimeo videos. This one is very good detailed

Seems to me that in color management it does not work as we imagine just. It should be after ODT but something tells me it might not be the case. With external LUT box i do not have that issue. I have seen now many weird things with ACES and overall color management. Not directly on your topic but for example with VFX connect there is a lot of weirdness and it is not covered in documentation much. Some issues go over to R16 as well. I guess the same might be with calibration lut as well that might still fall under ODT. Probably should ask Resolve support directly on their forum or talk to Peter Chamberlain.

I will check. Thanks!

@Daniele Siragusano I wonder if in future releases there could be possibility to build render folder structure from category names or any other metadata like comments for VFX plates? Looked into it yesterday a bit. For now it seems that we can make selections either by group and / or category that i defined additional. (VFX_plates, VFX_result) Could export edl with category selection in shots list and send it to nuke studio. Make render but folder structure is something i can just input manually for now. Ideally that would happen by expression and later on with python integration from category or any other metadata. VFX_results file structure i could make up now just by copy VFX_plates parent folder and rename it to VFX_results but there is not good way now to populate them on top VFX_plates track. Option would be to do manipulating EDL if needed and put back with EDL import on higher track. For shot name it seems that we can have filename_programTC and such things that would help for now but probably could also have more control in variables i guess. No clue yet how to do BLG export in that for now but i keep digging some more. This is just the observation i did yesterday get on my lunch break. Maybe i'm also a bit off here as BL i'm still discovering as we go.

HI again. I have BL related question, is there any possibility to export timeline status or just some tracks as edl or xml. We are looking vfx pipelines and one idea is to keep BL as mastering station and for such things assistant might need to move VFX shots to second and third track but my question is if or how can we export this information out if at all. Media we sure can render by any filter say markers or tags but then nuke studio would need placement of those shots also somehow to be delivered. UPDATE: Found relevant topic in manual and figured hot to category for selecting only relevant shots as well. That is is solved now for me.

Thanks!

Hi. I was re watching formats explanation yesterday in Filmlight Vimeo and got little ahaa moment again and also a question. Ahaa moment came from this video: Masks help to "crop" source material to scaling chart very fast and easy. My question is if the material shooting stage on set is masked like this on monitoring already so effective image area for framing is already visually determined like this but over shot for framing and such? It has been talked many times that "we shot 8k but mastered in 4k and we had extra material for reframing if needed" This example seems to be one of those cases perhaps? Another question was with mapping: Say material is shot in 6k, working resolution is 2k, cursor and monitoring is HD. When you render to 4k and disable cache does this mean images get processed from 6k material directly to 4k without down scaling followed by upscale and you get direct correct 6 to 4 k master? Sure the render is slower but it can be done. What i'm after here is if i work on BL One and it is usually HD can i render out 4k like this with full possible quality. I have asked this before but want to be sure i understand this correctly.

For now we can do it here in the Job board. If it gets madly over posted there will be separate Job offers and Job wanted board.

Sounds like a good way to do it as it is this "mix mode" that i'm after. I read the manual a bit more

As im on student still and a lot of confusion for me so i have silly questions as well. I have seen some conform tutorials and there they compare different tracs (regular clips vs offline) side by side with cursors. Is there a way to do wipe and / or mix wipe for figuring out framing and scaling?

Thanks. We take a look and play a little.

As we do not have any other instance now here from BL than student then i'm not very sure what you mean by CLI @Daniele Siragusano This is something we try to look ahead and perhaps pre develop with @Hendrik Proosa If we get there and have one setup here running and jobs move around then it is good idea to have all in place. This is how we did it with Resolve side now but there are so many shortcomings there currently which i see BL should be good at. I agree with @Hendrik Proosa on the subject to have BL as logical hub of mastering and delivery as adding another workstation that we seldom would use does not make sense or add much benefit for now that we could justify. Basically i see conform or assist can be the one that can prep render jobs in such case but all the vfx should land to main timeline with as little sweat and as much automation as possible. As humans have been to the moon in trashcan 1969 then i'm sure simple task as communicating with VFX can be done. I'm sure we could mimic any synthetic tests if that would help? Not just sure if we can mimic it with student version now.@Daniele Siragusano

Hi. I wonder if anyone has done workflow without Flame included to the process? We have done this on Resolve on feature jobs as automation and simple usage thing but i wonder if we could set up similar thing also in BL. From the demos i have seen by @Daniele Siragusano custom scripts where used but for now i'm not sure if regular user can make such scripts up and working. I will describe here how we did it in Resolve side and what would be my goal to set up in future for BL so it is all a bit hypothetical: 1. all vfx shots are identified and tagged or lifted to another trac 2. vfx connect clips are made with original cam file name + TC main timeline 3. plate is rendered for sending to VFX 4. as VFX connect also shows modified version as it is done no manual ingesting to timeline is needed. If that would not be the case i would do another track with link to folder with resulting done VFX shot. Boils down to precise folder structure say /VFX_shot_1/Plate source and /VFX_shot_1/Plate Done and having them linked to timeline: this could be done either manually which i would like to avoid or with scripting as making clone of the source to Done folder. 5. export xml for nuke studio to conform for the timeline, we have pre agreed that VFX shots are on video track 2 for example 6. there is custom script that aligns all the source material in nuke studio as Resolve connect does not have human readable folder naming, could be as well cam file original name + TC or any other more reasonable naming for better usability for human users 7. on final render results are placed in specific folder with the original matching plate name so it can just be over written as usual we do not need VFX results generation as host app is not able to flag or say if new version is available so we preferred to see on timeline if it was done. Separate solution was used to track status anyway. The idea is to keep BLG workflow with Nuke and do all the mastering in BL timeline and not in flame. Also takes out any need for manual conform and allows to see straight away in session if VFX is done and how it feels with correction in motion in sequence. There has been regular suggestions like have 3 assistants working around the clock but that does not seems very efficient way of doing things. I know that we can have much better control in BL over rendering (resolution and colors) but not sure about scripting side. I'm not sure if we should look at standalone python things or should we wait as the scripting side in BL is more implemented (have read some hints over FB BL threads.) Other technical side we did use: all was done over EXR as it had color data and also multi channel masks if needed. ACES was the colorspace we worked in color and VFX. All material was linked and synced over vpn and we where working in two different city's so not physically in the same location. I hope i did not miss anything or forgot and it sure might seem like a bit over simplified. I try to invite Hendrik Proosa here as well who did all the scrip heavy lifting and Nuke side. Hope this makes any sense and could help others as well in the end.

ACES

It will be adjusted accordingly and it will look spot on.

Which in many cases is most counter productive

Hi. I wonder what others use for remote sessions? Streambox seems like a good solution but a bit pricey for small shop like mine. Chroma models are around 10k sender and 7k receiver units so that got me thinking a bit as session frequency is not that high now. I know there are some older models as well. Usually we do offline remote as we work on a job, send it in for comments but sometimes it seems that having agency wants to be in as well.

Thanks! What is the current gen version 6 or something more? I also wonder if RTX Titans are implemented already ?

Hi. Sometimes it happens that clients ask delivery back in cam original resolution. I wonder if and how One would handle that if at all ? Some other platforms usually die on the task but i wonder how it is handled in BL. Usually gpu vram is the limiting bit specially if any NR is done to the material. Any experiences ?