LIVE GRADING WITH DAVINCI RESOLVE and HDLINK PRO

[Dan Kanes]

Gamma and Density 3CP has it.
Pomfort Has it.

Blackmagic Design should have it with Resolve + HDLink Pro - or release a hardware/software combo solution called Davinci LIVE!

I'd pay good money for this product.

Let's Petition the hell out of them for this.

 

[Dustin Cross]

That is not what Davinci Resolve is designed for. They features you need in a live grading app are very limited compared to what Resolve does.

I have been testing the new Pomfort LiveGrade and it is looking pretty nice. If they add some features and come in at the right price it will be awesome.

The thing I am really liking about LiveGrade is it uses a control surface. The new 3cP v5 also uses control surface, but you have to pay more than the cost of the control surface to add that feature to the software. Don't forget LinkColor which has some great features also and they are working on control surface support.


Dusty

 

[Dan Kanes]

Yeah, no kidding - obviously it was not "designed" for that.

It would appear that BMD wants to take the world by storm -they could OWN the vertically integrated on-site color correction market if they implemented this - which by the way would not be a far leap from what they do now - and since they already make the hardware that the other suites are using - all they would have to do is add this functionality to their Free software - boom - "GAME CHANGER"

Personally I prefer Resolve to 3Cp except that resolve doesn't seem to pass audio correctly yet for rendering dailies.

I think it's only a matter of time.

 

[Marc Wielage]

There are people using Baselight, Lustre, and other "non-live" color correctors to at least come up with temporary looks on-set for dailies. I haven't done it yet with Resolve, but you could apply the same principle, at least to a first take, and then go from there. Not that big a deal.

I agree 100% that having a good control surface is of key importance to getting the work done faster.

 

[Alex Carr]

I really want the corrections I create to be available in Davinci when creating Dailies. I've had a bit of trouble trying to get the 3cP LUT into Davinci. Truelight and GDP are great, only Davinci loses the on-camera audio when creating dailies..... Which makes me let Post handle it or re-link in FCP and re-export files with LUT and Audio... Which takes more time than I usually have on Set, especially at the end of the day.

 

[Dustin Cross]

I am sure BlackMagic could come out with an app that does great live grades.

I prefer everything to 3cP. I have lots of problems with 3cP. It is great for 90% of the job and total shit for the last 10%. Like exporting LUTs correctly.

The guys at Pomfort listen to feedback and they know we want to be able to get LUTs into Resolve, so I am sure they will make that happen with LiveGrade.

People are using Baselight and Luster on set? Wow.

Most stuff I do records separate audio so I sync after render from Resolve. A friend of mine recorded sound on the camera and Resolve lost all his audio, so I wrote a simple shell script to reconnect the audio to the rendered clips. It uses a little app called QTcoffee. (http://www.3am.pair.com/QTCoffee.html) It just matches filenames, so you need to make sure Resolve renders same name as source and you render the entire clip. It is pretty fast.

----------------------------
#!/bin/bash

clear
echo "Filenames must match for audio and video"
echo -n "Where are the Resolve rendered files : "
read -e video
echo " "
echo -n "Where are the Quicktime files with audio : "
read -e audio
echo " "
echo -n "Where should I write the new Quicktime files with audio : "
read -e loc
echo " "

for FILE in $(find -s "$video"/*.mov -type f 2>&1) ;

do
FILE2=`echo "$FILE" | awk -F / '{print $NF}'`
FILE3=`echo "$FILE" | awk -F . '{print $1}'`
muxmovie $video/$FILE2 -track "Video Track" $audio/$FILE2 -track "Sound Track" -track "Timecode Track 1" -track "Timecode Track 2" -self-contained -o $loc/$FILE2 ;

done
exit
----------------------------


Dusty

 

[Marc Wielage]

People are using Baselight and Luster on set? Wow.

Well, they're using Baselight for dailies an hour or two after they were shot, setting temporary looks, and carrying those looks through the project. That was done on Hugo, to name one.

They're calling it a "near-set color correction," which is an interesting way to put it...

http://www.filmlight.ltd.uk/customers/case-studies/film/hugo.php

 

[Dan Kanes]

Great Script Dustin - that is sick.

Thanks!

 

[Martin Landsburg]

sorry to revive an old thread, but has there been any update on this?
Is there a live grading solution today that supports Epic?
I believe Pomfort only supports Alexa and from the documentation
I assume Flip from Filmlight does too.
Any ideas?

 

[Dustin Cross]

Pomfort will work fine with Epic if you work in RedLog. There is no built in LUT for RedLog, but is not required.


Dusty

 

[Nick Shaw]

Excuse the self promotion, but my LUTs for converting REDlogFilm to REDgamma(1, 2 or 3) will work in Flip, or Truelight on Set. I don't have Pomfort, but I expect they would work with that, and I could convert them to a suitable format if not. They also work with LinkColor, another HDLink Pro based live grading system.

You would use the .cube versions of the LUTs, although I can also provide them as Truelight profiles if required.