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Found 23 results

  1. Hi everyone! I would like to learn more about printerlights/offset. I know they are and were used a lot for a primary balance, but hating LGG I would like to learn more how to create super looks with offset/printerlights. Cause moving all the tonal range affects highlights, shadows and skintones quite a lot and I don’t know also where to put the look node, cause as I understood well, printerlights’ effect has to be seen through a curve. Do I have to put the look node before the first balance/contrast? How do you deal with skintones/qualifiers? Thank you in advance, have a great day.
  2. Hello all, I had done grading of a regional feature film, now they have given it for OTT platforms, and they are asking for a dolby vision version of it. if someone can tell me the proper workflow to obtain proper result in davinci resolve 16.. thanks
  3. Hi friends! I'm working on my first feature and I want to know what should I consider to work in a project that would be screened on theaters and streaming platforms. How do I set up my odts?
  4. Hello, I have a bit of a unique case and would love any/all feedback on setting up my timeline correctly for delivery success. FYI - I am a director/DP who is teaching myself editing but still relatively clumsy in an NLE. I am hoping to be proficient enough to be my own "junior editor" for my feature doc projects. Keeping my naiveté in mind when giving advice will be super helpful to me and help reduce "follow up" questions 🙂 Goal - Deliver a 2k (DCP) short feature (60min) documentary film consisting of SD (4:3) archival footage which was shot on the DVX100a 13 years back. All footage is SD there will be no mixed media. It is imperative that the upscale and text on screen look as good as possible. The Situation - Footage is currently in a Premiere Pro project (60+ hrs) pretty well organized and close to ready to be delivered to the editor (lets say it is "pre-edited" now). We have known essential scenes and shots translated (org. language is Bengali, translated to English) and we have .srt's of said translations. I would be "fine" with doing the edit in PP, however it is seemingly impossible to import subtitles in a format other than .scc or a very stripped down .srt. As such the styling and resolution of the subtitles would all need to be redone in PP and from what I understand DR will allow me to work with the .srt files seamlessly, change all the params on the text and even export a new .srt file. As such I am inclined to import each timeline into DR and attach the .srt files in DR and finish the edit, color and delivery there. Problems to Solve: SD --> HD upres for delivery - Some have suggested the "super scale" function in DR 16 could work well in this case but I have been having a hard time finding information on the best way to set up a timeline for this specific case use (or really any decent info on settings or techniques to try within Super Scale. What would you suggest? Proper Timeline Set Up - I know this is super important when starting any project and as I am less familiar with SD tech (or lack thereof) I am even more hesitant to stab in the dark on this. I would hate to create a problem at the onset which would become problematic on delivery. Everything was shot in 24p btw. Any suggestions on not only setting up the DR timeline but exporting the PP timeline(s) or project if possible (I would rather import a complete project but if I need to go timeline by timeline I will). Subtitle gotcha's or Pitfalls - So I was a bit heartbroken to learn that the .srt files have very limited functionality in PP, and I would love to know what are the pitfalls I could experience in DR before I make the belabored effort of migrating the entire project over. Any, life experience help or suggestions would be super helpful! Again, any advice, guidance is very much welcome and appreciated. Thx!
  5. I've recently written an article for the frame.io blog about vfx workflows with Nuke, Flame, After Effects and Resolve/Fusion. Would love any feedback or perspectives on the information: https://blog.frame.io/2020/02/17/vfx-workflow-best-practices/ Thanks, love this site!
  6. Just looked intro to BL for Avid on FilmLight page and got intrigued a bit. What i mean is usually i get edit from avid and the thing that was mentioned in the end "see grade while editing" is the case some times it would make sense to Harness. My goal would be to learn that workflow and practice some BL on top seems like good idea to me. Am i missing something here or is there just conform bit that is different? Another part would be to allow to do something that would be usable in the end one way or the other that seems to me not possible with student ? (i also always run out of student time frame when i can do something meaningful)
  7. I found this by Noam Kroll: The Unique Finishing Workflow I Used To Grade, Mix, & Master My Feature Film
  8. Hi everyone! Is there some sort of grading groups (similar to davinci resolve groups) in Scratch?
  9. Hi! Do you guys use the Tint/Temp controls in white balancing or LGG for the most of it? Is there a backlash in using Tint/Temp controls? Thanks!
  10. Hi all, we're doing a pre-NAB event on the new SCRATCH on April 4th, that is all about dailies. This is actually more a basic training on SCRATCH for dailies, than it is a presentation. Aim is, that anybody attending is able to process dailies in SCRATCH after the event is over. We have put some focus on the dailies-tools inside SCRATCH for v9.0. Think it's going to be pretty interesting for some of you. I'll make it over as well and if you happen to be in the LA area around that time, I would be happy to put some faces to the names :-) ! Greetz, Mazze
  11. Hi guys, this is my first time in this forum. I have a workflow question about sony A7s with Resolve. I’ll be doing 10 webisodes color correction/grading. I will receive all the 10 episodes at once and I have 3 weeks to do it. Shot in 4K with Sony A7S. The footage is XAVC (I’ve never worked with this footage before). Normally I work with Raw RD3, Raw DNG files or ProRess. Destination is internet but they want to have it corrected for TV too just in case as the webisodes are for a broadcaster website. I’ll ask the editor for XMLs of each episode and footage. Romantic Drama. There are some digital speed ramps in the footage so I’ll ask for the footage without the speed ramp because it doesn’t read in the XML. I’ll ask for FX (if there’s FX) to be render prep and done. Question 1… Do I open one new project for each episode or within the same project, I’ll have timeline 1 (episode one), then import XML 2 – Timeline 2 (episode 2) etc,. I’ll save stills to apply same look to the other episodes. Of course, I must do shot matching first. 2- Broadcaster specs… I’ll send back everything to the editor so he can do the final online with sound. If the footage is 8bit, do I work in 10 bit in resolve? Because the broadcaster wants Bit rate: 10 bits I’m planning to give the editor back ProRess 422 then he can compress it for broadcaster right? 3. Still I didn’t speak with the editor yet so I’m not sure if the footage is Slog 2. Any recommendation with this codec? 4 Project settings: Finally, in the project settings/color management… what type timeline color space do you recommend for this. Thanks guys and sorry for all the dumb questions. Thanks Gabe Broadcaster specs below 4k UDH XAVC Wrapper: MXF Format profile: PO- 1a Video format: AVC Video codec: H.264 Video profile: XAVC 4k -intra Video compression Method: VBR not CBG Bit rate 200= Mb Bit rate Depth: 10 bits
  12. Hi. Have not posted long time here but now i feel to need to spread some words on my digital desktop. I wonder if anyone has lately some experience on subject? I'm doing one job now where 90% is VFX in one way or another and now i do all the versioning manually. Sure we could set up fusion connect to all of this but we have not done this yet. Probably will test with next job. As all VFX come from post house using mainly Nuke then it would be reasonable to have a go on Generations but as there is not much information about it at the moment floating it got me wondering if it would help me at all? Any ideas or experiences would be helpful. Maybe i'm also barking under wrong tree and should go with some other grading platform that would connect better to Nuke or Nuke Studio? Ideally i would like at tool that would plug in to Nuke somehow or Fusion in that matter but non of this seems to exist now or possibly i'm missing it somehow. There has been a link for video that describes this clever way of getting Nuke to render directly to Resolve timeline as Fusion connect asset but i can ot find that video now. The basic concept was that nuke could render to pre set folder structure that had version number in file or folder name and in Resolve those would pop up as new asses on premade place. So in that way it is really doable it seems. One thing that comes to mind is that way would not update external matte and would still need some manual hand holding but all other aspects would be covered like versioning from shot to shot. Sure BM has long way to go on that matter i would say. I'm not really keen to go with Nuke Studio for now. I i'm really hoping that i could one day grade on the VFX assets directly somehow in one way or the other. Now it is done either layering or external mattes which also works but not that super fine as i would like it to be. I have done both commercials and features that are really vfx heavy and in a way it is a mess every time if you do it manually. Sure it is not that super bad but annoying still. My vfx house was nice in that sense that all the naming and lengths and color science were spot on and clean. Then again i come to another matter. RED settings in nuke is another layer of things you have to manage if you do not render out plates yourself. We will see if aces will make that part better for us next time. All the ideas pointers and discussions are very welcome here on the topic despite the origin doing it in Resolve.
  13. Hi all, here's a tutorial about how to create dailies for Avid in SCRATCH. Even if you are aware of the workflow and not particularly a SCRATCH user, you might still wanna check this video out, as it features a nice trick I used to do on-set 🙂 . Cheers, Mazze *EDIT* updated for v9
  14. Hi all, we did a new tutorial showing ACES workflows in SCRATCH. You'll see debayering raw footage directly to ACES, loading IDTs manually onto non-raw footage and live SDI-streams, as well as setting up your viewing devices and rendering pipeline. Enjoy!
  15. Hi all, here's a tutorial about dealing with footage from the Kinefinity cameras, including KRW, Kinefinity's own raw-format:
  16. Hello, maybe something different and not so into colour... but how the features you work on will be finished? Is it done like in Flame or Smoke? Or is it done in the Grading-system? Our Finishing-Tool is Baselight but there can be some problems with it, especially with Audio you can get in trouble. I just like to hear how your experience is. Best regards from Munich Aljoscha
  17. Hi all, since there are many places in SCRATCH to load (and save) a lookup table, here's a quick guide showing all the possibilities when working with LUTs:
  18. Connected Colour Workflow - Part 4
  19. Connected Colour Workflow - Part 3
  20. Connected Colour Workflow - Part 2
  21. Connected Colour Workflow - Part 1
  22. Hi folks, since Pomfort and I basically live next door to each other here in Munich, we sat down together a couple weeks back and have developed a nice workflow to transfer looks from LiveGrade to Silverstack and from there to SCRATCH: http://pomfort.com/news/2016/08/livegrade-pro-silverstack-assimilate-scratch-one-seamless-workflow/ For everybody working on-set with either LiveGrade or Silverstack (or both), this might be pretty interesting - enjoy: Cheers, Mazze