Thomas Singh

Most of our projects are delivered in 16:9 only, but sometimes they ask us to do several version of the same spots in 1:1. When working in 16:9, we sometimes apply a 2:35 letterbox or similar and use the conceal effects to re-position the images behind the mask up and down to be able to choose the section of the frame we want. I'm actually looking for the same thing now, just a way to apply a vertical letterbox that are 1:1 accurate so that I can reposition the images. I know my initial question was a bit confusing because I mentioned the word grid. An 1:1 accurate vertical letterbox is actually what I ment to ask for.

I have found that I can force more noise into the image by differentiate and tweek the different color chanels. That could be useful when you want more grit into the images and could e.g create some really interesting shapes on white surfaces, overcast days etc.

Many of our clients want their films in 1:1 for social media, and what we usually do is to crop and scale to fit in Adobe Media Encoder when delivering the encoded files. Now I want to add a 1:1 grid or a letterbox on both sides in Avid to be able to reposition the clips. I know I can use the 16:9 mask and change the scaling values, but that wouldn't be accurate enough. Any idea how to do this?

I have experienced that correcting pure red could be tricky especially when working with package design and clothing. When changing the hue angle of influenced red it turns from orange to different flavors of pink. Do you have any tips on how to bring back pinky red to create a solid none influenced strong red color?

That was the reason, now the card is an option in the output settings. Thank you!

I'm exploring different color spaces and wonder if working in YUV has any other benefits than separating components for anti moire work?

Do you have any guide on how to export EDLs or XMLs from Premiere Pro CC to Davinci Resolve? I guess that XML can transfer more data than an EDL, so that is what I should use?

That was it, thanks! Bought a one to four SDI splitter from Black Magic and it works great.

I have imported my media into Premiere Pro CC and it looks like the media needs to be buffered before use everytime I click a new clip. Meaning that some of the clips show this yellow screen a second or two before I see the actual footage. The machine is a beast and the media is DNxHD36, and should be read without any issues I guess. Anyone with any experience with this?

The monitor is connected and the hardware works, but I still can't get the image our of PP. In the Premiere Pro Preferences/Playback I only have Adobe DV, Adobe Monitor 1+2 available in the video device list. Should the Black Magic output card be visible here? If not, where do I instruct Premiere to use my output card?

I have an old BM SDI card with two SDI outputs that I try to connect to a couple of external monitors. One of the outputs is working but the other isn't. Is this a hardware fail or could this be resolved by changing any settings or preferences somewhere?

We have Davinci Resolve set up in one of our suites and would like to have Premiere output as well. Could Premiere use/share the same Black Magic Card for video output? How is this set up in the Premiere preferences?

2017. We had it professional calibrated and the guys were impressed about the preciseness.

We experienced the same thing, but by redusing the default sharpen parameteres that created white circles around the pixels especially seen in the shadow areas, the noise dissapeared.

It would be great to hear how you deal with skin tones in dark environments. With tungsten light the hue could be too red and in those situations I find it difficult to correct as red or dark orange skin can feel grey and lifeless with redused warmth. I find that lifting the highlights before doing the corrections could help some, but it doesn't always gives satifying results. I understand that DoP's can shoot dark for a reason but that doesn't help when the director is sitting next to me asking me to make the skin look good.

Have anyone of you worked with Fusion, and how well is the integration with Davinci Resolve? I hope to be able to do more compositing without going to Nuke to save time.

Sometimes the paste attributes function doesn't work properly and you might need to repeat it several times. I have also experienced issues with pasting if the target clip doesn't have the same length.

We just got our hands on some Sony 4444 XQ 4K footage and they are too heavy to run in realtime. Some years ago we used to transcode to DPX to gain better performance but we need to find some other formats/codecs because we many terabites with footage and the DPX files directory will be enormous. Other suggestions? Remember, this is 4K and we don't work with Prores.

I'm not familiar with those, but I've worked professionally as a Symphony editor for over 15 years and it sure doesn't behave the same way as avid. I found that I need to alt-click the square button (with two arrows inside) to solo the track to be able to paste the clip on the spesific track.

When I copy / paste a clip from one timeline to another in Davinci Resolve, how do I determine what track it should be pasted into? Now I disable every other track than the one I want to lay it down on, but that seems a bit cumbersome.

I find it a bit confusing that Davinci Resolve doesn't show black edits in my timeline. It shows the clips before and after only, as default. Are there any settings available so that I can change this? I'm used to editing timelines and like to see what's there and what's not.

Did they work with the same footage?

Hi. I got some revised FX clips and want to replace the original clips on the timeline. Can I simply drag the new files into the media pool replacing the other clips?

Slow development, but the products seem to be pretty solid when first rolled out. Could be a real game changer for FilmLight. Also wondering what Adobe will do now that they have decided to completely discountinue Speedgrade.

We are putting the reels of our colorists together in a loop but want to be able to insert an extra layer on top of the reel live on presentation. Any idea how that can be achieved? So... the reel will be playing in a loop on the screen and on our command some graphics (could be the names and images of the colorists) will be inserted on top of the video layer.