Davinci Resolve 9.0

[jake blackstone]

Also, DI has become much more advanced now, and the notion of realtime less important. If some clips do not play at 24p without a pre-render, it's not much of an issue.

Well, that's the philosophy, that I disagree with. DI Is not VFX. For color grading I demand real time playback and I do not want to spend a ton of time, trying to figure out the crazy node tree of the shot, something like 10 layers or more, that some people like. And on top of that to have different debayer settings per node too? I'll pass...
DI is all about consistency, simplicity, artistry and speed. VFX is, pretty much, an exact opposite, except the artistry part. As a matter of fact, I disagree with the whole notion of the node based color grading in the same way I disagree with a layer based compositing. But that is different subject altogether...

Anyway, in Premiere Pro I can exactly that. I can layer any number of Red debayer settings of the same clip.

In theory, you'll be able to do that in V9 too, if you'd like, by doing the same thing- stacking multiple layers of the same image. You just can't do that on per node basis...

[Rob Ruffo]

Well, that's the philosophy, that I disagree with. DI Is not VFX. For color grading I demand real time playback and I do not want to spend a ton of time, trying to figure out the crazy node tree of the shot, something like 10 layers or more, that some people like. And on top of that to have different debayer settings per node too? I'll pass...
DI is all about consistency, simplicity, artistry and speed. VFX is, pretty much, an exact opposite, except the artistry part. As a matter of fact, I disagree with the whole notion of the node based color grading in the same way I disagree with a layer based compositing. But that is different subject altogether...

In theory, you'll be able to do that in V9 too, if you'd like, by doing the same thing- stacking multiple layers of the same image. You just can't do that on per node basis...

Yes, but this would be much more useful if I could use a tracked window to affect a transparency setting.

I think we represent a large segment of the market for these tools. We do post on high-budget music videos. Its' not Avatar here, but it isn't wedding videos either. There is a lot of one-man band going on, so I'm the one who would have to go to after effects and do stuff, and waste time in the process. The line between VFX and color-grading is highly blurred in our studio. We have about a week, on average to post a 4 minute or so video.

[jake blackstone]

Yes, but this would be much more useful if I could use a tracked window to affect a transparency setting.

You can do that. Just use transfer modes in conjunction with tracked window on a layer.

I think we represent a large segment of the market for these tools. We do post on high-budget music videos. Its' not Avatar here, but it isn't wedding videos either. There is a lot of one-man band going on, so I'm the one who would have to go to after effects and do stuff, and waste time in the process. The line between VFX and color-grading is highly blurred in our studio. We have about a week, on average to post a 4 minute or so video.

I just finished grading music video for high profile band, based on one of the so-called, tent-pole movie, that's coming out shortly. No problem with separate edit, VFX and grading, that was done on separate stations. Pretty standard stuff.
But if that doesn't work for you, then you should investigate Smoke.

[Rob Ruffo]

You can do that. Just use transfer modes in conjunction with tracked window on a layer.



I just finished grading music video for high profile band, based on one of the so-called, tent-pole movie, that's coming out shortly. No problem with separate edit, VFX and grading, that was done on separate stations. Pretty standard stuff.
But if that doesn't work for you, then you should investigate Smoke.

It's standard, yes, but so is our approach. Our approach has the benefit of having a more integrated, global vision of "pixel flow" from camera to delivery. Things like roto, which are wholly discreet and have only one right answer, are farmed out. Also, I say high budget, but we're not at the very top yet. We'll get there :-)

Smoke is another learning curve I just don;t have the time budget for for now. I am a D.p. and director, and with my wife run a side rental company for our gear. There's not a lot of time.... (Not to say you have much free time either)

Where is "transfer modes" in the interface? I probably sound stupid here but I didn't know that one. I did all my learning in V8, and really have not had much free time since then. Do you mean the layer types (like Overlay, Darken, etc?) How could those be used to create window-based transparency around, say a layer that has a different WB Red debayer setting than another?

Thanks for your thoughts. If ever I subcontract color grading, you are my first call.

[jake blackstone]

Where is "transfer modes" in the interface? I probably sound stupid here but I didn't know that one. I did all my learning in V8, and really have not had much free time since then. Do you mean the layer types (like Overlay, Darken, etc?) How could those be used to create window-based transparency around, say a layer that has a different WB Red debayer setting than another?

Thanks for your thoughts. If ever I subcontract color grading, you are my first call.

Yes, those are the transfer modes. You can even use them for each node, if needed.

[Rob Ruffo]

Yes, those are the transfer modes. You can even use them for each node, if needed.

But how would I use a tracked window to create transparency? Sorry to bug you, I've been wanting to layer 2 different r3D settings for a long time.

[Doug Beatty]

Answers

[Rob Ruffo]

Answers

That's an unfriendly, jerk's response. How is being unpleasant with people helping you out in your career so far? I phoned a friend who is a colorist and he informed me that you can add an alpha input to a grade, connect the matte triangle to it, and get alpha-based layering in the timeline. It has nothing to do with transfer modes like "overlay", which si why I couldn't figure it out, and is new since 8.1. That took me about 2 minutes to write. I like to be helpful.

[John Tissavary]

basically what you want is two tracks, then create an alpha output on the second video track, create a branch (second node that does not lead to the image output) with tracked window that leads to the alpha output. That way you'll 'see through' the second track down to the first.

As to your comment about layering 2 r3d settings, if you're using R3D, you can't mix r3d settings if you're referencing the same clip in the master settings. What might work is if you copy / rename a clip so that you 'fool' resolve into thinking it's got two different clips.

[Paul Nordin]

Awesome tip John! Came at a perfect time for me...just before a client showed up to review a grade with several split screens, which thanks to you are now implemented in Resolve.
Cheers