Thomas Singh

Is he a nice guy?

I have been working with Avid since the beginning and this is what I got issues with. 1. Their title tool sucked so hard and the developers did never put any love into it. Maybe they have done something with it the last two years but I have been working with that shit forever and I really hate them for not giving me a better tool and letting me look like a joke in front of clients and directors because I couldn't do the easiest task without something going wrong. 2. The keyframing is a joke. 3. The MP4 compression wasn't good enough so I always had to export same as source and do the final render in the media encoder. The Sorensen integration worked seamless but it was always some data level gamma issues even though I tagged the files correct. 4. When working with interplay and Nexis etc the mxf file structure was nice. But for short form I like to have the media in named folders organized in my own system and link to the files the way I can in Premiere. AMA wasn't good enough to work this way. 5. It was so many formats it didn't recognize, but it looks like that is sorted out now. What I like about Avid is the following. 1. It's a better editing tool than Premiere. I feel it's so much better that it's not really worth having a discussion about it. 99% of all the features in the world is done with it. 2. WHY doesn't Premiere have a client monitor on/off button!?! 3. It's stable, Adobe launch new updates all the time with critical bugs and issues. They don't test things, and it's not funny to sit in a client session explaining why the sample plot suddenly disappeared and stupid things like that.

One thing I love about the tracker in Fusion compared to the one in After Effects is that after the track you get the option to see a zoomed in visualization of the tracked area to see if it sticks or drifts. Then there are never any doubt if the track is good enough or not.

Lee Lanier has written many of the best selling visual effects books you can find on Amazon, and he is a teacher at the Gnomon VFX school in Hollywood. The quality of the courses on this site is hard to beat, and the instructors are professional presenters.

Excellent tutorials, definitely the best out there. Easy to follow and useful techniques that makes my work life so much easier!

Great, thank you for taking your time to answer me!

I need to deliver some shots from my graded timeline in DaVinci Resolve to VFX. How do I disable the grade? I have tried Shift-D and it disables them but not on render.

How do I loop a grain clip in DaVinci Resolve? I know it's possible, just can't remember how.

I think the only software I have on my system that opens faster than this is Text edit 😂

I think the only software I have on my system that opens faster than this is Text edit 😂

I have stacked two clips on top of each other and brought the top clip into Fusion. I've added the corner pin tool to the image and the background is transparent. I need to see the bottom layer in the transparent area. How does that work? When I go back to the edit module the bottom clip is filling the transparent area but not inside of Fusion. Any help very appreciated.

You can ask him to click the match frame button twice on the multicam clip. That will load the original clip in the source monitor which he then can insert from the same frame count. Yes that takes time to do on a zillion clips, but seriously... it's a reason why Avid is used on 99% of the features in the world.

You don't need to, but if you want to key on a normalized image you can apply a technical LUT to the log image inside of Fusion and disable it when the work is done. That's a pretty common workflow. If you want to do it your way, you can apply a input LUT on clip level inside of the edit tab, do your VFX in Fusion and disable the LUT when the work is done and you are ready to color it.

You simply work with the log image all the way instead of a linear image.

Ok I wonder because some of the before-references you use is out of balance and that gives a wrong impression on how the preset will look on a proper balanced image.

Are you using the Kodak LAD image as a neutral reference to build your presets on?

When I receive and import RAW camera footage, the clips are always log, but not this time. When I load in the files from the RED Dragon camera, the in-camera LUT is applied automatically. Any idea why?

Have you guys seen the lesson overview of the new coming conform course? Kevin is an award winning editor with extensive FCP experience, so I bet these roundtrip lessons will cover what an editor need to know to prepare a messy project for Resolve.

I see that there are many LUT providers out there, Cinegraik, Koji ++ How are these made? By creating some colour tweeks inside DaVinci and exporting them as a LUT? Any way to create the LUTs "technically correct?"

Delete what you wrote and write it again in capital letters? Or convert your text using a third part service as https://convertcase.net. I don't think you can change existing text without using expressions.

That's not s Fusion issue is it?

Maria, this made it for me. Thank you for your help and welcome to this forum, great to have you here!

I have been coloring on heavy Linux systems and have never had any performance issues earlier. 8K is too much to handle so I need to find a solution, hopefully without transcoding to another finishing format. I have read about the cache methods but can't really see any big performance difference when activating the smart or user cache. The optimize media option should generate some kinds of HQ proxies to ensure realtime playback? Doesn't seem to work to me.

It also seems like I can get closer to realtime playback when playing through the timeline in the Edit Tab instead of the Color Tab.

Is it possible to optimize the media for realtime playback in Davinci Resolve? Working with some 8K footage and can't get more than 16frps.