Seth Tonk

  • Content Count

  • Joined

  • Last visited

Community Reputation

10 Neutral

About Seth Tonk

  • Rank
  • Birthday 08/09/1977

Personal Information

  • Gender
  1. Import grain to media pool as a Matte. Add layer mixer in color page. Bottom node (top layer) add matte, select the matte (grain). Disconnect matte - connect matte output (green) to input of node. Set layer mixer to Overlay. Set top node (2) node key settings as shown. Set the external matte to "loop" (on by default).
  2. If you disable the preview as stated above, then go to the project settings > Presets > Right Click Current Project and "save as user default" all new projects will have it disabled, as well as keeping your other settings. Of course, Color management can be changed as well as everything else on other projects, but the Live preview will remain disabled.
  3. Click the 3 dots in the top right of the gallery - un-check "live preview" - note that the also turn off live preview in layer mixer composite modes.
  4. It collapses to the left side based on screen resolution, I don't think you can do it manually, unless you resize the entire GUI window manually. I've only seen it on Ultra Wide Screen monitors when I resize the app itself to pull up notes.
  5. Import your Alexa media to resolve before the XML, then uncheck "automatically import media" when bringing in the xml. That should force Resolve to search your media bins instead of the proxies. You may have to do some selective "force conforms" here and there.
  6. Also, when viewing the rendered quicktime file, use VLC instead of quicktime as it does not shift the gamma and is a more accurate display of the file.
  7. I actually referred the wrong one, Avery Peck talks about RCM in this one, but goes onto detail about what Luma/Sat mapping is actually doing right around the 4:40 mark. Hope that helps, if not, I tried I am also assuming that the mapping functions in RCM are exactly the same as the ones in the OFX plugin, which would make sense.
  8. Juan Melara has a great tut on the CST plugin here...
  9. Well - It was Confirmed as a Camera Sensor issue... bummer.
  10. I am grading a feature (Indie) that was shot on the A7Sii, XAVC S S-Gamut3.Cine / S-Log3 1600 ISO High Profile 4:2:0 94-100Mbps UHD The issue- There is a visible pattern in the footage, can bee seen in about 50 shots so far, and can still be seen in the ungraded Log mode as well. The red one is an image I found online with the pattern, but no explanation as to what it is/and if it can be fixed some how. Anybody ever see this before? Is the footage screwed? I am grading in Resolve Studio 14 underneath a 2383 Film Emulation Lut (built in) Thank you!
  11. Even more grouping functions... i.e. once you group like shots in a scene, being able to add those grouped shots to yet another group. I know that "collapse group grades" is very functional, but sometimes I feel the need to keep the groups accessible for versions, etc. For instance, Grouping all of angle "A", grouping all of angle "B" then group them together for the scene, as many times I am looking for something in-between a group and a timeline grade. Remote grading is very useful for setting the primary balance, but useless once you get into windows and tracking, hence the want/need for advanced grouping options.
  12. Juan Melara has an awesome tut/explainer here on how they can be used for Log footage... It shows the power of the transform OFX