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Re: New to Resolve and have a question

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Joseph Owens
Re: New to Resolve and have a question
on May 19, 2016 at 2:48:48 pm

This doesn't sound like a $500M blockbuster inquiry. Otherwise there would be a post-super on this and it wouldn't appear here.

There is a rough factor-of-ten involved in formats now, but of course the fine details of source resolution and frame rate wobble the numbers around a bit. Lets talk about 23.98 1080HD.

Depending on source format, we could be talking about 1 GB/minute of media, 10GB or 100MB. One is "Uncompressed" RGB (the big one), in the middle is an intra-based format (notably ProRes, DnXHD...) and the smallest container is a Long-GOP compression. Zero tolerance workflow dictates the full pixel-for-pixel advantages of the uncompressed container -- widely expressed as a sequential .dpx approach. Its obviously a high-bandwidth demand on system resources. The Quicktime/MXF approach with a "visually lossless" codec like ProRes is right in the sweet spot for most broadcast and middle-ground productions. The Long-GOP (H264, etc.) class is a non-starter for multiple-generational post production work.

Whether you grade prior to FX work or try to integrate compositing or other paint/conceal, repair, or enhancement entirely depends on exactly what it is you are trying to do. There is no set answer to yes, definitely grade this before it goes to FX, or no, wait until we get it back -- possibly because the one FX shot in a scene might need a treatment matching it into the sequence that is inconsistent with the needs of the FX artist. Say its a muzzle flash from a firearm... does the rest of the scene need a little bright-up to absorb the moment of illumination? Is there something in the grade that will hoop the FX wrt pulling a clean matte?

We go around this loop every time with every shot at every level. If its plate work, do you grade the fg/bg to match and then send it to FX? Or do you pull the composite and then send the finished shot back to grade with an alpha qualifier so we can match between the layers? Can your fX supplier work with ProRes -- like maybe they can't if their in a Windows environment? Does their infrastructure work better with dpx sequences, or QT/MXF? If you're* it*, then its really up to you to sort out - the choices that have to be made are between flexibility and logistics with the solution appearing when everybody can do what they want without being limited by someone else's decisions.

Interestingly enough, this morning Boris released their BCC Continuum with integrated Mocha. Something I have been pestering everybody about for the last 6 years. Yes, we now have the Mocha planar tracker accessible from within Resolve. If we can pass that matte through the FX node, hoo-hah... Doris, get me heaven on the line, I'm coming home.


"I always pass on free advice -- its never of any use to me" Oscar Wilde.

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