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- Yesterday
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Sure, DR will do fine. Just make sure to check the aspect ratio and change it if needed in the clip attributes. On Inspire footage there will be no need to transcode to anything higher than DNxHD 145 to retain all the color information.
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As long as you're ordering from inside the EU, no problem :-) . Thanks Nicolas!
- Last week
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I got some GoPro inspire footage (DNG sequences) that I need to convert to something eatable for Avid. I will use the same files for grading so it needs to retain all the information needed. Could I run this through DR or should I convert it with some other software?
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In my neck of the woods it's usually: Feature film: 10 - 12 days (depending on the shot-count, duration, uniformity of the footage, amount of different locations and budget) If the film has a fair amount of vfx, we usually get additional time to grade. Trim passes for other deliverables get extra time added. TV drama (45 min ep): 3 - 5 days (depending on the same circumstances as stated above) The numbers refer to the time you have to complete the grade from an ungraded 'blank canvas' with no pre-grading done in advance, right through to final approval. Timeline-conform and splitt-checking has been done in advance. Sidenote: Another 'rule of thumb' I have heard is 1 hour grading time for every minute film. But as you see, the time I usually get is less, at least for episodic TV-drama. cheers Dylan dylanhopkin.com
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Thomas, I spoke to BM about Revival about 3 years ago and they said they will not be retooling it for general release; just using some of the code for integration into the DR suite. As to the dustbusting feature, as Remco notes, it only works on files in .DPX format, and I have found it to have a very real limitation on the size of the repair that can be made without introducing artifacts. You have a limited number of options to choose from which frame to steal pixels for the repair (prior to or after the target frame) and the frames you correct are permanently altered once you save your project. Undo is only available between saves and undo tends to undo ALL repairs prior to the last save, so you have to be careful when and where you do save the project. I tend to make up to 3 repair before I save a project. I once made the mistake of making about 20 repairs and then hit undo (which is NOT the typical undo for DR, but a separate undo in the drop down menu) and was a very unhappy camper! Also, be aware that if you are working with optimized media or proxies, the dustbusing repair is NOT shown on the active frame buffer, as you will be looking at a proxy that does not reflect changes in the original file! So, you will find yourself trying to repeatedly remove the same spec of dirt until you turn off the proxies, and then magically, it will disappear and show you the artifacts of multiple dust removal attempts! You could, of course, re-generate proxies on a shot by shot basis as you go through the project to reflect the repairs in the active color grading buffer, but you'll need to keep careful notes as to which shots have been re-generated. Hope this helps (and makes sense, only had one cup of coffee so far...) Frank
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Nicholas, Lots of qualifiers here; are you speaking of rendering independent of copying (i.e., copying one set of files while a project renders in the background) or are you speaking of the rendering speed difference between reading/writing to the same disc Vs reading from one disc while rendering to another? Are both discs internal? What are the interfaces on each disc? Too many questions to make a good guess here...
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I would forget about sRGB and use Rec.709 with a 2.2 gamma (or 2.4, as opinions seems to differ) as the ODT. For sRGB you need to raise the blacks as they will go below zero. ACEScc handles sRGB better than ACEScct.
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Do you know why DR rendering speed gets slowed down when copying footage from disk to disk on the same machine?
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Resolve 12.5.3 aces cct 1.0.2 I have just done a quick test to show what i mean: Same scene, rec709, rec709 with a gamma transform from 2.4 to 2.2, and ODT sRGB I have done it with normal exposure and under exposed. I noticed that in a normal exposure environment the transform it's acceptable. the real problem appear within the black zones, so in an underexposed scene I don't think it really work As you can see the sRGB it's a lot more contrasty and with the blacks completely crashed. I would not expect that the 2.2 and the sRGB images look the same as I know that ACES takes in account how the colours are perceived and not just the math behind it. But still I would not expect something like this as I don't think it's right REC709 REC709 GAMMA 2.2 sRGB REC709 REC709 GAMMA 2.2 sRGB
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What version of Resolve and ACES?
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Hi all! I would say that now half of my jobs are ACES, not that anyone asked me to do it, but I quite like it. Many times I need to output for the web, so once the job is done (graded on a FSI gamma 2.4 using Resolve) I have tried to change the odt from rec709 to sRgb. Unfortunately never worked as expected, The gamma change is very strong and the signal gets crashed down really hard. So my workflow so far has been not to change the odt and simply do a gamma transform from 2.4 to 2.2 on the timeline level. Has anyone experience this problem as well? Am I doing something wrong or i didin't understand the principle of the odt? Other system, like baselight, do behave different? cheers, Orash
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We are working late nights to set up two suits in out offices in Oslo. Eizo CG318 will be used for monitoring.
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Be carefull that happen to me quite few times that when the "proxy names o format" is shown, often it keeps also other metadata like resolution and stuff. You might want to double check it. Anyway, something I often do when it takes too long or it gives problems like it's importing proxies or proxies metadata, I load all the raw footage and untick import files. It goes a lot faster and usually it doesn't give any problems
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Hi Bruno. I imported the AAF and it worked this time (just took a very long time) but it seems like it linked to my DNxHD36 files and not my Alexa files. How can I change this? Edit: My fault, it links to the Alexa files it's just that it keeps the DNxHD36 file names on the render tab timeline.
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I've had this happen occasionally with AAF linked media on version 12 when I chose the 'Automatically import clips' option. It seems that Resolve gets stuck scanning the media drives before finally crashing.Try bringing in your material to the media pool first, then importing the AAF without this option set.
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Correct.
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Sorry, haven't tried using Resolve 14. Are you on the latest beta 4 release?
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Thank you. Any known bugs in DR14 regarding AAF? I do a regular AAF export in Avid, but when I try to import it into DR the system hangs.
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I would use AAF as my preferred export option from Avid to Resolve. It has better support for effects and multiple layers.
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*And it's not possible to right click on the red icon and switch clip. I'm on the DR14 btw. Any idea what is going on? The rest of the clips are online.
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Put another way, I'm used to export an EDL from Avid to Resolve and then relink to the RAW Alexa/RED footage. This time the timeline consists of many effects that can't be transfered through an EDL.
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Is it possible to export an XML from Avid? Can't find it in the list tools that I usually use for EDL output.
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It now really depends on your current gonfig a lot. If you have good CUDA gpu then full cuda no open CL at all. Overall system config affects it not just some small aspects.
- Earlier
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A good colorgrade to me is about helping production with telling their story. Colors can be really crucial to tell the story the way it should be told. I'm usually very happy when I accomplish what the creatives had in mind and if I personally think it turned out great as well, it has the potential to make my day. I don't think it's a shame to copy or learn from other colorists, I often find myself loading the stills gallery with frames that I like and use them as references.
