How to successfully use the "Sizing" information contained on the XML...?

[jake blackstone]

I haven't been using XML sizing for stated reasons. Version 8 was a good first step in including the sizing info, but obviously, it's not quite ready for production settings. Fine...
BUT, how about at least enabling PTZR while we're in conforming window? This business of using still for sizing is BS. Using a still is a workaround at best. At worst, it's totally unusable, if there is anything more extensive to repo, than simple pan, scan and zoom. In Scratch, FilmMaster, BL, Lustre... well, virtually EVERY other grading software you can easily have your offline copy playing happily side by side with the conformed timeline. And, no, there is no need to change the TC for the offline copy. In Resolve it will not even show up, if the TC is different from your timeline TC.
I see all this new stuff- the free Resolve, Windows Resolve. It's all fine. But how about fixing all this screwy stuff for your existing customers? Seriously, almost two years into Mac Resolve program and there is still no way to paste grade to multiple events? Come on guys!
And while we're on the subject of PTZR. How about we call it for what it actually is- sizing, geometry, pan and scan etc, but not PTZR...

[jake blackstone]

Actually I would like to ask another question from fellow Resolve users. I just can't figure this one out. I prefer to grade with RedFilmLog settings. But so far, only once I had see the camera metadata set to RedFilmLog. Most of the time it's RedColor 2. So, does anyone knows how to change all metadata from RedColor 2 to RedFilmLog while keeping the camera metadata intact?

[Luis Otero]

Jake,

On my way to the teatre, so will post something once I am back.

[Luis Otero]

I am back from the theatre, and I think I just enjoyed Meryl Streep's best performance ever, IMHO. A very polarizing figure, but presented in a manner that you can still continue to either love or hate the person she is portraying.

Now, Jake, I will explain what is my workflow, and why I think that the camera metadata is still maintained despite using RedLogFilm, and achieving a Cineon-like image as a starting point.

First, as Graeme has said in the past, the RedColor2 and RedFilmLog combination yields an equivalent of a Cineon (I am not 100% sure you agree on this based on previous conversations). But, based on such premise, I use that settings combination as the Project Settings.

Then, in the LUT tab, I apply an emulation LUT as a Monitoring one, which represents a set of negative-positive emulsion characteristics that in the event of a film out, by using such combination to get the final print, it gets exactly what I graded since, again, I am using it as a Monitoring one, so it will not be burned on the DPX sequence. However, if it is going to be put through the DCP route, then I "burned-in" such LUT. So, instead of using it as a Monitoring one, I selected it as a Output LUT, hence, the DPX sequence contains exactly what I graded, and is transformed by the DCP software from RGB to XYZ without any issue.

Now, going to your basic question, and to support my previous opinion that the metadata is preserved under such initial settings, if I go to any individual clip in the timeline, and open the "Red Settings", I can modify such settings, and the image still reacts accordingly. Hence, such parameters have been preserved as metadata, even if I created as a starting point the Cineon-like images via project settings. To further support this position, if in the same scene differents shots have been acquired for example, with different Red Settings (such as ISO), you can see that they react completely differently even before applying the emulation LUT. But such differences are very much pronounced after applying the LUT.

Again, this is my experience, and the way I have graded all my projects. A caveat here is that if the footage is not RAW R3D, and it is comming from a "sh@!*# DSLRs", I just apply a Lin-to-Log_2.2Gamma LUT we developed for such type of footage, but as an Input one, which brings such image to the Cineon-like footage, and then proceed as I decribed above.

I hope this either answer your question, or at least it helps to generate an enlightning discussion.

Regards,

EDIT: When I am using the terma "Input", "Monitoring" and "Output" LUTs, I am reffering to the 3D ones. I think it is obvious, but I wanted to clarify it to avoid any confussion.

[jake blackstone]

Luis.
All I want is to change RedColor 2 to RedFilmLog for the whole timeline without changing any camera metadata. On any other grading software I can do that by selecting the whole timeline and just changing the gamma space. I do not believe, that by applying an inverse LUT to RedColor 2 you'll get the proper RedFilmLog. And that is why I do not want to use an inverse LUT to achieve this. All Resolve has to do is to allow the gamma selection in camera metadata settings tab. Right now it is disabled. Unless I'm missing something...

[Gabriele Turchi]

jake :
in the color page , select all the shots (select the first , hold shift , select the last one ) ,
than open the R3D tab , ma ke the GLOBA adjustments you want to make (redlogFilm and Redcolor2) , click apply settings (not applying all (that should apply all the metadata settings of that particular shot )

let me know

g

[Sid Idris]

Regarding the original post: wouldn't it then make sense once your offline edit is complete to conform it to the full size proxies so that your ramps and scales proportions are maintained within the nle before going to grading? you'll have the full-size timeline to use to export an XML for davinci. The question remains whether your nle supports full-size proxies however.

[jake blackstone]

jake :
in the color page , select all the shots (select the first , hold shift , select the last one ) ,
than open the R3D tab , ma ke the GLOBA adjustments you want to make (redlogFilm and Redcolor2) , click apply settings (not applying all (that should apply all the metadata settings of that particular shot )

let me know

g

Yes, Gabriel you're correct. If you select just "Apply changes" it will just apply that selection (gamma) and will leave the rest of metadata intact. But if you select "Apply to all" metadata from that shot gets copied to all shots. So, funky Resolve English strikes again:-)
Thanks Gabriel!

[Luis Otero]

Regarding the original post: wouldn't it then make sense once your offline edit is complete to conform it to the full size proxies so that your ramps and scales proportions are maintained within the nle before going to grading? you'll have the full-size timeline to use to export an XML for davinci. The question remains whether your nle supports full-size proxies however.

Sid,

By doing so, I think it will be the same issue, but in FCP, if I am not mistaken. We will try it, if we have not done it already (I need to go through all the notes of the different ways we tried before). But from what we have leaned, and what we have discussed with BMD, the XML sizing information saves the data related to the original footage dimensions. That is why either "scale to sequence", or any other way to force it to scale it to another resolution will not be translated adequately.

On the other hand, we need to see if it is feasible to re-conform it to 4-5K, and if it is beneficial from the business perspective (time-wise). Will try, and report back...!

[Luis Otero]

Yes, Gabriel you're correct. If you select just "Apply changes" it will just apply that selection (gamma) and will leave the rest of metadata intact. But if you select "Apply to all" metadata from that shot gets copied to all shots. So, funky Resolve English strikes again:-)
Thanks Gabriel!

Jake,

Now I understand your initial intention. So, sorry for my long posting...

Regards,