Bruno Mansi

I don't know of any way of doing this. I find the side-by-side method of comparing a reference to the master timeline works OK if you're checking for incorrect shots, but not that useful to check for correct resizing or motion effects. In these instances, I prefer to bring in the offline reference as a normal clip, place it (in sync) on a layer above and then switch its composite mode to Difference. Now as you scroll through, you should see near-to-perfect black if the shots are identical (assuming you've done no preliminary grade or colour transform), but where there are differences in size/position, these will be instantly visible. Forgive me if you already know this technique and I'm teaching you to suck eggs!

Can you not use the OFX grid in a timeline node? It will then just sit over the top of every shot/element. Not as convenient to switch on or off, but there seems to be nothing in the safe area settings that will give you what you want.

Just had a look at this. In Avid's subcap tool, you get box options such as 'Each row as Wide as Needed' & 'Each Row as Wide as Widest' as well as padding options, which are really useful Can't see any options in Resolve (v16.2.1) that gives you this functionality. It looks as if the Stroke trick is the only way of doing this in Resolve.

On Windows PCs it's... Zoom in/out = scroll wheel Reposition = Middle/scroll wheel button click-and-drag Reposition up/down = Ctrl + scroll wheel Reposition left/right = Alt + scroll wheel. Not able to test on a Mac, but I should think replacing Ctrl with Command and Alt with Option should work. Left clicking and dragging doesn't do anything on my machine - Win10/Resolve 16.2.1,

I assume you're working with Avid Symphony? I would use the secondary colour correction within the Symphony CC tool to try to isolate and tame these problem areas. The secondary CC in Avid isn't the best, but if it's not up to the task, you could invest in the Baselight Editions plugin.

As long as the transcoded files (I assume as MXF OP Atom) are at 50fps, you'll get the option to run them at 25fps (as I mentioned previously) or at 50fps (ie as Slomo). You simply change the Playback Rates setting in Source Settings. If you're running them as slomos, I assume you're not going to need to sync sound?

When you bring material into Avid which has a different frame rate to the project, it will automatically get a temporal adapter added to it, so that it plays at the correct speed for your project. In your case, this will be exactly a 2X speed change, You can see this if you bring up the motion effect parameter for these clips. You can inspect the temporal adapter settings for your 50fps clips in Source Settings. You should be able to sync your sound as normal.

There's a lot of colourists who are perfectly able (and prefer) to do these sorts of look adjustments themselves, especially when the price of this set is quite high. However, if it suits your workflow and earns you money, I've no particular problem with using them, and they can make a good starting point for further adjustment. Be aware that where you put your LUT in the node chain can have consequences on your ability to further refine the image.

Does seem strange since they do have examples for their other sets. Hope you got them in the half price sale that they're currently offering!

I've seen people do this with the Trapcode Particular plugin, But this is only available for After Effects. There are some tutorials which describe how to do it (in AE) without any plugins. I suggest you have a look at these and see if the same techniques can be used in Resolve's Fusion tab.

I think 3D LUT creator as an OFX plugin would work well at this sort of thing. I've had a play with this in the past and I could compress colour vectors together and manipulate them as a set.

I'm afraid you've learnt the hard way that you should never delete your original camera files. Storage is so cheap nowadays that you could have easily backed up your rushes to a portable/external hard drive before you freed up the space on your camera and laptop. Most professional outfits make multiple backup copies in case a particular backup should fail. You never know when these backups will be needed - possibly corrupted media or a re-edit some months (or even years) later. I'm not sure why you deleted all copies of your camera rushes if you still needed them - maybe you thought you wouldn't need them again after you'd finished editing and outputted your the final edit to a movie file. The recovery software that Emily mentioned relies on the fact that when files are 'permanently' deleted, all that's really deleted is the index to those files on the hard disk or camera card. It's possible to recover these files with the right software, but the problem is that by removing the index to your files means that the space used by these files is then available to be re-written by any other program. It's possible that some portions of the old files remain, but the longer you use the computer, the more likely the chance these files will be overwritten. If you haven't used your camera (cards?) since you deleted the rushes, there's much more chance that you can completely recover your files.

Seems like a good spec for a laptop so I'm sure it would be fine to run Avid. If you don't need all the features of the latest 2019 version, you could install an earlier stable version, which would probably run more smoothly. Most modern laptops seem to be able to handle 4K , especially if you're using a half resolution display mode, but will struggle once you start loading up the effects on the timeline. This is especially true once the CPU/GPU start running hot and the laptop can't dissipate the heat fast enough. Not sure with Premiere since I don't really use it, but GPU performance is much more important than it is with Avid. I know they removed earlier versions from the Adobe downloads because of a dispute with Dolby, so you'll need to try it out. Does your laptop really have 512 GB RAM?

I'm not sure I fully understand what you did. When you say 'original files' do you mean you created copies or proxies, and decided you didn't need the original media?

Always useful to mention what country you're in, as shipping to other continents can be expensive!

I advice anyone running Win 10 to install O&O Shutup 10, which will allow you to stop Microsoft forcing these updates on you, until you are ready to update.

My advice would be start with the online courses first, until you get a decent amount of time under your belt, then maybe consider attending a short course. The reason I say this is that attending courses can be fairly expensive, and you'll be better off doing the basic stuff with an online course. When the time is right, then by all means attend an intermediate/advanced course, where you can ask more informed questions and benefit from watching an experienced colourist at work. I would steer clear of YouTube tutorials, as there's some really bad stuff out there from people who claim to be professionals, but give poor advice. Mixing light, Ripple Training and FXPHD are examples of online video courses which do a good job of teaching the art and craft of colour grading.

No one's going to be able to answer this unless you give a lot more information about your process, including... What you're exporting from and to File formats and project settings What devices you're viewing on.

Hi Omar Not sure what this 'European' look you're referring to actually is. The two examples you link to are quite different from each other. You mention it's mostly from commercial and music videos, but as a European, I see a great variation in styles and grades - just as I would from material from the rest of the world. Last time I checked, Mexico City wasn't in Europe!

One of the things that people liked with Avid's Symphony option was relational colour grading. With BL version 5 we have a similar ability. You can grade a shot and have it automatically apply forward (or backwards) in the timeline to a group of shots based on source name, reel etc.

I'm not sure what footage you're talking about, but the shot being graded is visible in the BL plugin window and can played within the plugin. It can made full-screen within the computer display monitor and even output to a grading monitor if you have the relevant hardware attached (ie. Nitris BOB or Blackmagic card/IO box).

If you want a more detailed explanation of how it all works, have a look at this Filmlight tutorial. https://www.filmlight.ltd.uk/training/resources/bleditions/BaselightforAvidColourWorkflows.php

I'm not sure I understand what you're asking here. The Baselight/Avid workflow is unique from the point of view that you don't need to render/export any type of movie file from a full Baselight system to see the grade inside Media Composer. It's simply sending over the metadata (which the BL plugin can read) which will allow you to see the full grade on your Avid timeline. You can actually do this with the free version of the plugin, so it costs nothing to have it installed on as many Avid workstations as needed. It's when you want to further tweak the grade from within MC that you need to purchase a licence This works two-way, so you can do a grade within Avid (using Baselight for Avid) and send this metadata to a full Baselight. for further work or finessing.

Just to add my 2 cents into this discussion... If you are intending to set the format to scope (which has already been explained as 2048x858) I would also set the DCP to use Interop packaging as this is the most compatible with the majority of older projectors. Also I would dial-down the Max bite rate to something around 200 Mbits as I've heard that some projectors can struggle with data rates of 250 Mbit/sec.

You could also try 'difference' mode, which is really good for seeing slight mismatches in sizing or motion effects.