Amada Daro

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About Amada Daro

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  • Birthday 04/11/1989

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  1. I have an issue when setting in and out points on the timeline in the edit module in DaVinci Resolve. It looks like I'm not hitting the exact start and end of the clip. Is the frame divided into subframes? What's the point with this, and how can I change it?
  2. Seems like the issue is because the graphic is scaled down and re positioned. I have changed scaling from sharper to smoother but it doesn't help much. It looks find when still but looks really bad when hitting play.
  3. Thanks but it's already set to Premultiplied. A bit strange behaviour though, as switching between straight and premultiplied inverts some of the elements which is not what happens when doing the same thing in After Effects.
  4. I have imported a PNG file in DaVinci Resolve and the edges are jagged. The original file is fine and it looks perfect in After Effects. Is there a setting I have missed?
  5. How does this tool compare to Livegrade and the other established color on set tools?
  6. In the Edit Module, mark the original clip in the media pool and the clip on the timeline, then right click the thumb and choose "force conform".
  7. Scopes can help you analyze the shots and you can extract some information about them that could be useful. It could be difficult for an un-trained eye to see the luminance levels, it the shots are desaturated, if the colors are scewed in towards cold or warm etc. That said, Individual hues, contrast, shape and colour harmony is not the easiest thing to read from a scope and required experience and taste to replicate.
  8. Why do you need the background clips? I took the full course using still images that I had on my desktop, and that was all I needed to follow along.
  9. I think @Kevin P McAuliffe might have some experience with this particular issue?
  10. Only EDL. For your other question, the idea with the pre-conformed workflow is to split a single clip into pieces, just as Kevin demonstrates in the video.
  11. 16 bit is better than 12 bit, which is better than 10 bit. Technically. Colorists are more familiar with RAW, 3rd, ProRes than XAVC. I have worked with XAVC and I hate it. But I know a guy that like it. Do you want an objective answer, go read a pixel tech review. This is personal because today all modern formats are technically good enough for everything, but some feels better and is a better starting point for whatever you want to achieve. Sit down with the director and post and make your camera choice based on everything else than the format.
  12. I said I don't like the look of Sony and that I would go for Alexa. You can shoot 16bit RAW with Sony Venice, and you can shoot with ProRes compression. No idea why you would go for XAVC. You should consult the post house prior to shoot a full feature. It's much more to consider than compression when you are into the choice of going for one camera or another.
  13. This is more a question of what look you are going for. Personally, I prefer Alexa because it renders skin tones better than Red. It's also better in low light. If I had to choose between Red and Venice I would go for Red because the Sony sensors are too clean for my taste and the images looks too "digital". Any experienced colorist knows how to get the most out of the 3rd log file.