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Found 11 results

  1. Hey everyone, This might be a question that exposes my ignorance, but recently I was asked if I could grade a 30 minute documentary for someone. I happen to do a lot of color correction for my job as well as just for fun when I want to mess around in Resolve, so I was confident that I could do what the director was asking for (she said she wants it to look true to life, so mostly just primary corrections it sounds like). Then she told me that the footage was V-Log 4K shot on the Panasonic EVA1 and asked if I have a 4K monitor, which I don't. What I do have is an IPS 1920x1200 monitor, specifically a ProArt ASUS PA248Q, and a ColorMunki. I have graded C100, FS5ii, GH4, and even downscaled RED footage on this monitor with good results, but because she specifically asked if my monitor is 4K, I'm beginning to wonder if maybe my monitor wouldn't be accurate enough for her project. As far as I know, the only problems I would have are judging sharpness and noise, but as far as color goes it should be fairly accurate regardless of my monitor's resolution as long as I calibrate properly, right? Or is there something I'm missing here? I'd love to help with her project, but I also don't want to waste her time. What do you guys think?
  2. Hey there, this is my very first contribution to the forum - forgive and correct me if I am doing something wrong. Two weeks ago I had the chance to take a Sony Venice out and shoot a part of a short film on it. Sony kindly let me and my team test it out. Now we are rendering proxies for our film editor, and weird stuff happened. On some of the 6k X-OCN St footage that I processed through Davinci Resolve 14, colors went really odd. I mean, really odd. Skin is grey and blue, purple is green, yellow is purple-green-blue-noise. I attach a file to give you an impression of how the picture should look (lelft) and how it does after transcoding (right). It does look fine before the transcode. Rendered proxies are 2k DNxHR SQ files. Solution was to turn off "Force Debayer to highest quality". But this only worked for the CameraRAW Decode Quality set to "Full Res - Sony" instead of "Full Res - Resolve". First: Why are there two choices (Resolve + Sony Debayer)? I read something about that on one of the very first Venice talks on CML, but it still is an issue. Second: Why does this happen? It may be a new thing considering Venice hasn't been around for that long. Third: Why does "Force Debayer to highest quality" have an effect at all when debayering already happens with Sony's algorithm in Full Res? Maybe Resolve 15 handles it better - but I can't upgrade due to a job right now. Upgrade will happen next month. Kind Regards, David Seul P.S.: I've mistaken .net with .com - sorry, but perhaps I still reach some of the people that are interested in the topic.
  3. I bought two Ursa Minis 4.6K. I already have Davinci so I don't need those. They are NEW, never used. Boxes open because it comes already like that in the camera package. Looking at selling individually for $550 each or 1000 for the 2 package. Willing to ship internationally with paypal. I include on the price the paypal safe fees and shipping cost. Contact Guillermo: gpolofilms@gmail.com Thanks!
  4. Good evening guys. So, I am looking into optimizing what I get out of my RAW files. And I am not sure I am doing that right now. My workflow now, is 2,5k RAW in Resolve, and then exporting for further editing in Premiere and AFX. What kind of bitrate would you use going from Resolve into Premiere? And what is sufficient for web and cinema use? Thanks!
  5. Hi Guys, I’ve been running into some very strange discrepancies between grading in the ACES and YRGB colour spaces in Resolve, and was wondering if anyone might be able to shed some light on them? In a nutshell, what I’m seeing is the following: - in YRGB, images respond predictably to LUTs, but yield less subtle variation in skintones - in ACES, images become violently overexposed when applying LUTs, and contain boosted red tones - After correction, images in ACES appear to yield more accurate and nuanced colour reproduction Here’s the original log image (slog3 from a Sony F5) and it’s waveform. The exposure values for her skin and the wall in the background are sitting where I’d expect them to be: Now in YRGB mode, when I apply the LC709A LUT to the log image, exposure values are lifted to approximately where I’d expect them to go: LC709A is designed to mimic Alexa’s Rec709 output, and does a nice job of normalising slog3 images, it doesn’t crush the blacks though, so a slight contrast curve is needed to put the darker tones where they belong: There’s a slight overall green tint to the colour here, but it’s easily corrected out, and we have a normalised image. When apply a straight Filmconvert grade on top of the image, everything ends up right where we’d expect it to go without any further corrections or fine-tuning: When we flip Resolve over into ACES v1.0 mode though, and apply the same LUTs/Looks, we get very different results. (note I’m not using any IDT or ODT on the footage, merely grading it in the ACES colour space). Applying the LC709A LUT in ACES results in this: Exposure values blown sky high. Applying the straight Filmconvert look on top does the same thing, only worse: Now with some contrast curves, we can correct the ACES image back to normalised levels: However, there is an excessive amount of red in this normalised ACES image. Now for this scene, I had uncorrected 650w tungsten lights coming through daytime windows to simulate late afternoon light, and that would have increased the red in the image, but given the light wasn’t hitting the actress directly, it seems odd that the red levels are so boosted. With the excess red dialled out however, the ACES image yield more nuanced and appealing skintones. Here’s the corrected Filmconvert look, with the excess red removed and the exposure levels brought down to normalised levels: Compare that to the YRGB Filmconvert image, and you can see how much more nuanced and realistic the skintones look: And again, ACES with a straight Filmconvert look applied, brightness corrected and excess red removed: And the YRGB version: http://i.imgur.com/adukanA.jpg Again the skin looks much less wooden, and more realistic in the ACES version. The richer reds of her lips are more clearly defined from the skin on her face. Is anyone else experiencing similar strange responses to LUTs in ACES in Resolve? And does anyone know what might be causing the discrepancy? Any insights would be greatly appreciated. Cheers, Mark
  6. Hi, So in Davinci Resolve we have used one long continuous take that we have cut up in various places and into multiple shots. When I apply a LUT to one of the shots, it applies it to all of the shots as the camera was rolling the whole time and it is all coming from the same file. I just want to apply a LUT to one of the shots and not have it apply to all of them, how do I do this? Hope that makes sense thanks
  7. I recently pushed DaVinci Resolve further than I have yet. A project came in that needed a bit of compositing, and I tackled in right in DaVinci Resolve. And with a little help from Boris Continuum Complete, it all came together beautifully. All best- Mike Wolf Finishing Editor | Colorist www.shinefinishing.com 310-357-7211
  8. Hi, I'm trying to get my head around some basic concepts of working with different colour spaces when grading (specifically, in Resolve) and am hoping some of you may be able to shed some light on it all. I am using a Macbook Pro with DaVinci Resolve, outputting through a Blackmagic Mini Monitor into a HP Dreamcolor Z24X. Am I right in thinking that the correct way to grade with this setup would be to work in the sRGB colour space in Resolve, and then set my monitor's colour space to the one relevant to my delivery? Eg if I want to grade for cinema projection I can set the monitor to DCI-P3, for DVD I could do Rec 709 and for web I can do sRGB. And presumably Resolve's sRGB colour space will be able to 'convert' the output to say DCI-P3 or Rec 709 so I can accurately see the video on a monitor set to those standards? All the best, Connor
  9. i'm only asking for help on how to convert the Sekonic color meter "CC" index reading to apply to the Resolve "tint" slider value in the camera RAW section. (no mired/kelvin issues for this.. just the CC value and translating that value for post work) On p12 of the Sekonic manual paraphrased, each CC index number is multiplied by 2.5 to get a Color Correction filter number... OK, that's awesome... for knowing what CC gels to use on lights... ...but how does that meg/grn adjustment number relate to the +/- 150 value in many applications (lightroom/resolve) I would also like to know how to apply that same meg/grn measurement to shots in post too. Here's an example: hypothetical fumbled studio shoot. Tungsten lamps, checked/metered in advance, all good. Power goes out, comes back on an hour later. one of the bulbs is now dead and is replaced. In a rush and don't re-meter lights notice after the talent leaves that something is off with the key (fill bounced) re-meter, yup for some reason the new lamp shows a CC index value of G2 (previous bulb was 0 on the Sekonic C-500) Write down the value... Fast Forward I am now sitting in front of Resolve and looking at the "tint" slider in camera raw window on the "color" tab. what do i set the slider to... +5 -5 +2 -2 .... or something completely different? Please explain in detail. Thank You so much in advance, I have given myself a headache from googling and re-reading manuals =)
  10. Hello, I'm relatively new to DV and recently installed version 9 after coming from 8.2. I've looked around on the net for problems regarding this issue and have basically hit a wall - the problems that most people have had were with the same anomaly I've been trying to deal with. Problems: Finalized file has a bar at the top of the video that flickers on and off. The entire frame will do this as well randomly throughout a clip. Along with the above, say I apply a LUT and grade it, then render. In the final file the video flickers back and forth between the graded footage and the stock footage. -- I haven't had any noise issues or anything of that sort, just random flickers -- Possible Solutions I've found and (or) attempted: Upgrade to the latest Cuda Drivers - 5.0.35 Disable SLI (tried rendering with 1 GPU and still had problem) Check frame rate to make sure the master matches the file Tried rendering as multiple filetypes Disable all audio * there might be some others but they don't come to mind right away, what I did find is that a lot of the macos users that had similar problems needed an OS update. ------------------------------------- The footage was shot on a 60D, 1080p @ 24fps as a .mov The media rendered, was rendered to a .mov along with a .#res file as well. I've included my project settings below - feel free to point out anything that seem obviously out of place ^_^ Along with that, here is a clip of the actual problem. NOTE: The flickering at the end of the video is not the candle. You can also observe the bar at the top of the frame that spans horizontally while flickering. http://lanelehman.com/V1-0001_MVI_9526.mp4 System Information: Operating System: Windows 7 Professional 64-bit (6.1, Build 7601) Service Pack 1 (7601.win7sp1_gdr.120503-2030) Processor: Intel® Core i7-3930K CPU @ 3.20GHz (12 CPUs), ~4.2GHz Memory: 16384MB RAM DirectX Version: DirectX 11 Display Devices: Card name: NVIDIA GeForce GTX 560 Manufacturer: NVIDIA Chip type: GeForce GTX 560 Display Memory: 4050 MB Dedicated Memory: 978 MB Shared Memory: 3072 MB Current Mode: 1920 x 1080 (32 bit) (59Hz) Driver File Version: 9.18.0013.0694 (English) Driver Version: 9.18.13.694 Card name: NVIDIA GeForce GTX 560 Manufacturer: NVIDIA Chip type: GeForce GTX 560 Display Memory: 4050 MB Dedicated Memory: 978 MB Shared Memory: 3072 MB Current Mode: 1920 x 1080 (32 bit) (59Hz) Driver File Version: 9.18.0013.0694 (English) Driver Version: 9.18.13.694 Thanks for any replies I get here, I really appreciate the time taken to read all of this. My search for a solution to a working version of v9.0 continues!
  11. To anyone here who uses DaVinci Resolve (full or Lite), you may be interested to know that version 9.1 was released today. The update includes retina support for Apple's Macbook, including the 15" Retina Macbook Pro. It also includes an enhancement for the CinemaDNG format, which is used by the Blackmagic Cinema Camera. The Resolve product manager has posted full details about the update to the Blackmagic forums, here: http://forum.blackma....php?f=3&t=4253 The update can be downloaded via the Blackmagic Support page: http://www.blackmagi...gn.com/support/
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