Best explaining here!
http://nofilmschool.com/2014/04/blackmagic-unveils-davinci-resolve-11-now-fully-capable-editing-system/
SO, we have an entire software for edit from DNG to the final work!
;)
I have high hopes for their new highlight/shadow recovery tool, maybe now it will be comparable with ACR in this matter, we will see.
I see 10.1.4 was made available yesterday but version 11 isn't downloadable just yet. It was reported that it will be available as a download in June.
The main features are summarised here. http://www.blackmagicdesign.com/products/davinciresolve/compare (http://www.blackmagicdesign.com/products/davinciresolve/compare)
This is *great*, I really want to see those improvement.
Just got back from NAB. Resolve 11 is probably the most exciting thing I saw there (ok, actually Nuke Studio is, but it's crazy expensive and won't be out for a while).
I think Blackmagic is really listening to the user base and adding some amazing features to their software (did I mention it's FREE????).
The new raw settings are a bit more comprehensive than before. Not quite in the same league as ACR, but we get more controls than before for various levels and it should be plenty to get a "Best Look" pass before hitting the color wheels. Black, Mid and Highlight levels are included, but not for instance things like "Clarity" or "Vibrance" that Adobe seems to provide.
Hopefully a public beta means the update will be out sooner rather than later.
Quote from: Midphase on April 11, 2014, 07:53:10 AM
Just got back from NAB. Resolve 11 is probably the most exciting thing I saw there (ok, actually Nuke Studio is, but it's crazy expensive and won't be out for a while).
I think Blackmagic is really listening to the user base and adding some amazing features to their software (did I mention it's FREE????).
The new raw settings are a bit more comprehensive than before. Not quite in the same league as ACR, but we get more controls than before for various levels and it should be plenty to get a "Best Look" pass before hitting the color wheels. Black, Mid and Highlight levels are included, but not for instance things like "Clarity" or "Vibrance" that Adobe seems to provide.
Hopefully a public beta means the update will be out sooner rather than later.
Midphase, great news!
Do you know a guide for use ACR in a professional mode?
I was checking youtube and only find guides for photos, but i think its not the same because in video some things like blacks are very different.
If not, should be a very good idea to create a video - I have to learn, of course.
Quote from: budafilms on April 21, 2014, 08:40:18 AM
Do you know a guide for use ACR in a professional mode?
I don't know of a guide but there's plenty of info to be found around here. The main issue with ACR is that if you're going to use it in Aftereffects, the render times are way too long, especially if you're working on a lot of footage. Until Premiere Pro supports both CDNG playback with full ACR control I'm afraid it's way too slow of a workflow.
Quote from: Midphase on April 21, 2014, 09:09:32 AM
I don't know of a guide but there's plenty of info to be found around here. The main issue with ACR is that if you're going to use it in Aftereffects, the render times are way too long, especially if you're working on a lot of footage. Until Premiere Pro supports both CDNG playback with full ACR control I'm afraid it's way too slow of a workflow.
Yes, I know that.
Even working with DaVinci ti's better for the round trip. If you want to " touch" again the DNG, you are not loosing conversion.
In ACR, when you have the Tiff, you have to start again.
Quote from: budafilms on April 21, 2014, 08:40:18 AM
Midphase, great news!
Do you know a guide for use ACR in a professional mode?
I was checking youtube and only find guides for photos, but i think its not the same because in video some things like blacks are very different.
If not, should be a very good idea to create a video - I have to learn, of course.
Still waiting for update of v11. Any news?
Any day now!
My best guess is that they will try to crap on Adobe's parade on the 18th by releasing Resolve 11 on the same day!
I sure hope so... because... well.. today's the 18th :)
I'm stoked... hopefully this will eliminate the need for all of the roundtripping to premiere or avid... I can import my DNGs, edit, grade, export... right? no quality loss or anything?
Fingers crossed. Hopefully there'll be some sort of acknowledgement of the existence of ML Raw. The colorchecker balance option should be a great help too.
Someone has the 11 version?
I don't have my desktop to try.
I read on Creative Cows it's a Public Beta, and expected at the end of this month.
Any day now guys. Blackmagic assured me that this wouldn't be a June 30th at 11:59pm release.
but i was told some days ago that it will be "released in the summer" which also could be july, august.. :(
i am waiting hard. it will outshine premiere pro, cause it is so fast.. also with cdng files.. and the tracker is one of the best and fastest in the world..
Quote from: swinxx on June 19, 2014, 12:07:28 PM
but i was told some days ago that it will be "released in the summer" which also could be july, august.. :(
i am waiting hard. it will outshine premiere pro, cause it is so fast.. also with cdng files.. and the tracker is one of the best and fastest in the world..
Well, the public beta is supposed to be out any day, and my guess is that it will be solid enough to work quite well. It's possible that the "official" release will follow in a couple of months.
I hope so ;) greets
Could be the end of lovely FINAL CUT, for free! ;D
In my case get the DaVinci with tools with 5d3 connected by HDMI with ML MENU in the viewfinder it's everything I need for 4 years. No more.
A1ex I believe in you!
It's here! direct link for mac: http://software.blackmagicdesign.com/DaVinciResolve/beta/DaVinci_Resolve_Lite_11.0b1_Mac.zip
I experience some pretty weird stuff with resolve 11. i am running it on a macbook pro late 2013 15". the first time when i started it up the bar at the bottom, where i can select the different tabs (media edit color deliver), was missing. I then tried different monitor resolutions from the system settings and they came back but then the color tab was completely off. anyone else experiencing this?
Quote from: jemabaris on June 24, 2014, 01:22:08 PM
I experience some pretty weird stuff with resolve 11. i am running it on a macbook pro late 2013 15". the first time when i started it up the bar at the bottom, where i can select the different tabs (media edit color deliver), was missing. I then tried different monitor resolutions from the system settings and they came back but then the color tab was completely off. anyone else experiencing this?
Have you tried "reset UI Layout" under "View" in Resolve ?
anyone have the direct link for windows?
Quote from: Jakobmen on June 24, 2014, 02:14:57 PM
anyone have the direct link for windows?
here, http://software.blackmagicdesign.com/DaVinciResolve/beta/DaVinci_Resolve_Lite_11.0b1_Windows.zip
Anyway with the new ImpulZ from VisionColor this is marvellous. I'm only experiencing a few kernel panic/crash in mac os X 10.9 but I suppose that a CUDA update will fix this.
Quote from: togg on June 24, 2014, 02:10:41 PM
Have you tried "reset UI Layout" under "View" in Resolve ?
yeah... not working though :(
Go to View - show window frame - press the green mac + icon on top left corner.
Quote from: Danne on June 24, 2014, 08:25:25 PM
Go to View - show window frame - press the green mac + icon on top left corner.
awesome, that worked :D thank you sir!
The new Resolve 11 feel like working in FCPX, I can't believe it! but with much more 8)
It only took about 15min from installing to understanding the GUI, importing and start editing, Just like fcpx its very fast and flexible.
I see elements from all different NLE in there , look like there took the best features and added them to resolve.
The best part I like is the new camera raw adjustments ,very nice :)
And so far everything seem to work right out of the box .
Got into a massive argument today with a friend editor. He doesn't see the advantage of giving Resolve a try, while to me it's as clear as day. The ability to have NLE and final grading under the same app is amazing. I think he's missing out.
I think so, The only other software that's Better right now is Autodesk Smoke for Mac and it's the same way
a Super App ! But with it's drawbacks, Mainly support for Cdng/DNG is not there or I would be hip deep in Smoke without a question.
I'm a very big fanboy of FCPX, but what I see in resolve 11 and the fact I work with raw, really there is not other choice.
For some of us we no longer just edit of grade, we need a app that can do it All.
It never hurts to have lots of tools to work with, I will still use FCPX but as long as I film in ML Raw I think resolve will be my main choice or with the Roundtrip with fcpx.
Days of fighting with Cdng/DNG workflow is coming to a end I think.
resolve 11 is hands down my fav app.. the possibility to handle raw data is tremendous. i wish they would support canon ml raw, but they - of course - only support their bmc raw. however it is possible to work with bmd film log and with some adjustments it works really great, also with luts.. the best luts for me are those kodak 2393 and fujifilm luts..
they are also free and you can find them here:
http://www.bmcuser.com/showthread.php?2503-Kodak-and-Fujifilm-Emulation-LUTs&s=42fe5763d74d871b7bbd52f9638edbb3
some tweaks and they look awesome,
the onle thing which is indeed a missing part of davinci lite is a noise reduction tool, but with ofx support you can really simply add neat video for ofx. it is not free but the best tool so far.
somewhere i have read that alex is also working on a noise reduction algo, but i may have misunderstood that.
however. resolve 11 is big! and free! and therefore my go to app.
my 2 cents.
sw
Great! Downloading and be testing this days!!!! :D
I'm interesting in noise reduction, any information about A1ex algorithm?
This really is a game changer. The added RAW controls and the Color Match options (using ColorChecker Cards) mean I can finally normalise a clip with confidence and proceed to grade creatively. No more lingering doubts or loss of information due to time consuming conversion processes.
I'm probably going to do my editing in Resolve now as well, and only send footage out to After Effects or Nuke for VFX shots.
A great development for Magic Lantern users.
How much sharpening do you use in the raw panel? mmm
It depends. The Midtone Detail option is great, and unlike working in ACR (using the clarity slider) you can see the effect properly and conveniently quickly.
The temptation is always to rack up the sharpening, but it is better to err on the side of moderation.
whow.. davinci is so slick and fast. love it!
Quote from: togg on June 26, 2014, 08:04:53 PM
How much sharpening do you use in the raw panel? mmm
I think 50-60 should be the maximum for 5d3 1080p footage according to my tests. With more youre starting to get visible aliasing on some egdes, 50-60 gives nice, sharp, almost 4k look to me ;)
Quote from: baldavenger on June 26, 2014, 08:58:13 PM
It depends. The Midtone Detail option is great, and unlike working in ACR (using the clarity slider) you can see the effect properly and conveniently quickly.
The temptation is always to rack up the sharpening, but it is better to err on the side of moderation.
I'm not really a sharpen-lover, I like soft details and I know that my tool cannot give too much. I've noticed that midtone stuff, impressing, I will probably use it a little bit.
Quote from: swinxx on June 26, 2014, 09:44:36 PM
whow.. davinci is so slick and fast. love it!
true that, It's beautiful to be able to edit in real time without proxies.
Quote from: kgv5 on June 26, 2014, 10:21:35 PM
I think 50-60 should be the maximum for 5d3 1080p footage according to my tests. With more youre starting to get visible aliasing on some egdes, 50-60 gives nice, sharp, almost 4k look to me ;)
I will keep around 25 and push a little bit the midtone slider I suppose, keep it soft :))
It's great that Resolve 11 is supporting AMD GPUs now.
It's even running on my low budget machine (i3/ Radeon HD 5450 with 512 MB RAM).
Not fast... but it's running :D
RESOLVE ROCKS!
Check COLOR CHART to apply into DNG ;)
I have bought a x-rite colorchecker passport cause the color match frature seems great. This should simplify the workflow for the primary grade..
Will test it soon.
I did exactly that and it works like a charm (colorchecker passport), but be aware to choose an appropriate target temerature. Otherwise some very moody candle light scences would look very strange ;)
what do you mean by appropriate target? can you explain your workflow please? thx
I don´t have colour card, I will try to get one.
I did my old style.
Ideas or experiences are very welcome:
a) I put BMD and start to modify kelvins, tint, exposure.
b) I don´t understand the colour boost, I get more noise in the black shadows.
c) I touch the saturate a little.
d) Add 20 % sharpens and 10% mid tones details.
e) I have some problems with MLV sound, it´s shorter than my video timeline. I made a compound clip to cut the entire video when I edit, after. So I get some primary correction with sound ready.
f) After that secondary correction with videoscopes and wheels trying to raise to 0 blacks.
e) Export including audio.
We can share our experiences to get the best settings for work with ML in DA VINCI ;D
great idea. i am just reading the manual - its more than 800 pages... but i think its very useful to understand all the features. so i have no workflow til now..
@budafilms - which program have you used to convert to dng?? try rawmagic - i will check if my audio files are from a different size later
greets
Quote from: swinxx on June 28, 2014, 10:58:26 AM
great idea. i am just reading the manual - its more than 800 pages... but i think its very useful to understand all the features. so i have no workflow til now..
@budafilms - which program have you used to convert to dng?? try rawmagic - i will check if my audio files are from a different size later
greets
There´s are 2 videos: EDITING and COLOR
Watch carefully using pause and checking with your DaVinci, it´s a short cut to learn all that manual ;)
http://www.blackmagicdesign.com/products/davinciresolveI used Son of Batch, tomorrow I´ll try with MLV Mystic. I understand that the good version of RAWMAGIC it´s not free.
In fact, it is quite simple.
1. Shoot something with the colorchart clearly visible
2. import into Davinci Resolve
3. on the color pane move to the preview window and choose "color chart" as a tool
4. drag, move, scale it to fit your recorded colorchart so that all squares are clearly within the squares of your recorded colorchart
5. on the color pane bottom left you can see the Color Match
6. set gamma and target color space to your needs
7. DON'T forget to adjust the Target Color Temp to fit your needs, otherwise you might get strange results
8. klick the button "Match"
9. Be happy...
The adjustments (highlights and so on) are quite useful, the Color Boost I always have pull down quite a bit.
Quote from: kontrakatze on June 28, 2014, 11:10:46 AM
In fact, it is quite simple.
1. Shoot something with the colorchart clearly visible
2. import into Davinci Resolve
3. on the color pane move to the preview window and choose "color chart" as a tool
4. drag, move, scale it to fit your recorded colorchart so that all squares are clearly within the squares of your recorded colorchart
5. on the color pane bottom left you can see the Color Match
6. set gamma and target color space to your needs
7. DON'T forget to adjust the Target Color Temp to fit your needs, otherwise you might get strange results
8. klick the button "Match"
9. Be happy...
The adjustments (highlights and so on) are quite useful, the Color Boost I always have pull down quite a bit.
Great.
What do you understand of Color Boost, it´s a kind of saturation? I am testing and I decide not used that function.
@kontrakatze:
Thx!
Sounds so simple.
How do you adjust the clear white with the color temp? Shouldn this be adjusted automatically? I mean on the colorchecker passport you have also a white panel.
@budafilms:
Thx for the advise, but i know the wheels quite well, the manual goes much deeper into the material and is very interesting..
I'm waiting for a cuda update, the edit section seems a little bit slow now that I've tried it better.
As for the software there're a few bugs, the more important is that sometimes every color option stay stucked and nothing change, only the raw pannel options works. I can't say the exact path to reproduce this but it happens to me different times, it's boring to close and reopen the application.
edit: and I'm expierencing frequent GPU panic that freeze the computer and then make it restart, this needs to be fix.
Quote from: togg on June 28, 2014, 01:13:22 PM
I'm waiting for a cuda update, the edit section seems a little bit slow now that I've tried it better.
As for the software there're a few bugs, the more important is that sometimes every color option stay stucked and nothing change, only the raw pannel options works. I can't say the exact path to reproduce this but it happens to me different times, it's boring to close and reopen the application.
edit: and I'm expierencing frequent GPU panic that freeze the computer and then make it restart, this needs to be fix.
In Preferences, CPU, you can select work with CUDA - Open CL or AUTO. You don´t need Cuda drives. Try with this option. Maybe it´s the hard disk.
I think you use PC, because Mac have CUDA drive updated.
Quote from: budafilms on June 29, 2014, 01:12:59 AM
In Preferences, CPU, you can select work with CUDA - Open CL or AUTO. You don´t need Cuda drives. Try with this option. Maybe it´s the hard disk.
I think you use PC, because Mac have CUDA drive updated.
I've a Mac, they're updated yes but after a new Resolve sometimes a new cuda pop out and the performances become better.
Quote from: budafilms on June 29, 2014, 01:12:59 AM
In Preferences, CPU, you can select work with CUDA - Open CL or AUTO. You don´t need Cuda drives. Try with this option. Maybe it´s the hard disk.
I think you use PC, because Mac have CUDA drive updated.
I'm on a PC and I don't see that option under Preferences(and I have an nvidia card supporting cuda).
Wow, this is really an amazing program. I have a few questions if anybody knows the answers:
1) How does Resolve 11 work with ML RAW and MLV files? Is there any type of conversion step to work with your footage?
2) vs Adobe ACR - I have two things that I really like in ACR, lens corrections and my custom DNG color profiles for each lens I own. Does Resolve 11 have anything close to the functionality of these two features?
3) Can one make custom color profiles inside Resolve 11? I would be happy to make some custom color presets inside Resolve 11 if it lets you color-pick individual colors of a color chart and adjust. The Adobe DNG profiler software is awesome for dialing in color and adding as a preset in ACR.
Thanks for your help. I will probably download and install it anyway!!
Quote from: Bassman2003 on June 29, 2014, 04:38:09 PM
Wow, this is really an amazing program. I have a few questions if anybody knows the answers:
1) You have to use a software to convert RAW or MLV to DNG files. Example: Son of Batch, MLV Mystic.
2) No lens correction in DaVinci. You can save Stills with Command 1 (OSX). Or power grade with all the settings you want.
3) Check answer 2, in Color Section.
Thanks. So after I convert to normal DNG's (not cinema DNGs) they are good to go? Would you consider opening a DNG file in Resolve 11 equal to opening in ACR when it is comes to adjusting the RAW settings? In other words, does Resolve 11 act like (or is as good as) a RAW editor like ACR?
Thanks.
I want to learn how to use Resolve but someone needs to confirm that it is possible to have the same quality I can get from Photoshop's ACR before I spend time on it.
Here is something from Resolve:
(http://i1063.photobucket.com/albums/t506/Sganzerla/target-resolve_zps735d728f.jpg)
Here is something from ACR
(http://i1063.photobucket.com/albums/t506/Sganzerla/target-acr_zpsfedee362.jpg)
Here is the DNG for download:
https://copy.com/MN0LTeLigD3U (https://copy.com/MN0LTeLigD3U)
I think from the small pictures above is already possible to see that Resolve is noisier, have crap colors and can't really compete with Adobe Engine at any level.
But I might be doing something wrong, that's why I have put a link of the DNG to download. If someone can get better image simply using the Target tool, please let us know.
I had a crack.
Nothing too taxing. Similar flexibility to that of ACR in my opinion.
(http://i.imgur.com/3I0McXD.jpg)
Looks good, baldavenger, but I need to know how did you get this.
With ACR it was a matter of simply using a one click at the grey patch. The same thing* with Resolve results in the image I posted earlier. If there is something that would put the image in a more "neutral" look as I can get with ACR, without too much effort, I'd appreciate.
*almost, as one needs to place the points in the target
Quote from: Bassman2003 on June 29, 2014, 11:21:44 PM
Thanks. So after I convert to normal DNG's (not cinema DNGs) they are good to go? Would you consider opening a DNG file in Resolve 11 equal to opening in ACR when it is comes to adjusting the RAW settings? In other words, does Resolve 11 act like (or is as good as) a RAW editor like ACR?
Thanks.
You should try with the software. When you open DaVinci, and go to the folder where DNG are, you can watch like a video.
Try, it's amazing.
O.k. I will wait for the first release instead of beta though.
Quote from: Sganzerla on June 30, 2014, 04:35:40 AM
Looks good, baldavenger, but I need to know how did you get this.
With ACR it was a matter of simply using a one click at the grey patch. The same thing* with Resolve results in the image I posted earlier. If there is something that would put the image in a more "neutral" look as I can get with ACR, without too much effort, I'd appreciate.
*almost, as one needs to place the points in the target
In the preferences I chose the following settings:
(http://i.imgur.com/H9mWuE6.png)
In the color tab I stayed in the BMD Film color space and gamma. The image appeared flat, as you would expect from a log gamma. The first adjustment in the first node was auto color (alt or option A). This expands the image tonality so that it now looks more natural and less flat. In the second node I performed the color match. This does not fix any color cast though, so that is performed in the third node. Isolate a neutral area with a power window (middle grey in the color chart), press shift H so that the area is isolated on screen and in the scopes, then use the vector scope to neutral the grey. Use the temp and tint sliders in the Raw controls for this. When this is done, remove the power window and the image will be color balanced and any cast removed. Proceed to use the Raw controls as you would in ACR to finesse the image.
Here are the settings I used:
(http://i.imgur.com/puu3V69.png)
Could someone manage a workflow for processing DNG's in this new version?
Thank you for your explanation, baldavenger!
Will take a look at this workflow to see how effective it can be in my way of working. ;D
This does look pretty slick.
Are spatial and temporal noise reduction available in the Lite version?
Also, I don't suppose that the FilmConvert module can't be used in-program yet, can it?
Quote from: QuickHitRecord on July 01, 2014, 05:14:29 AM
Are spatial and temporal noise reduction available in the Lite version?
No, otherwise why would they bother having a paid version?
Is filmconvert a lut alternative?
It is akso avaikable as ofx and therefore it should work also with davinci resilve 11.
I wonder how the ml raw files should be handled with filmconvert and resolve? In rec709 or in the bmdfilm preset? I have seen that there is a canon ml raw preset for filmconvert, but not found a guide..
I think that tge momentary bottleneck with ml raw is the missing conversion from ml raw dngs to eg bmd or arri or red or any other standard log curve. Without matching those profiles the result will always look strange ( color shifted) with the luts available.
Visioncolor has a new tool in development which converts different source file logs and convert them to other logs.. I think it is called cam vert. I hope that it will work with ml raw files.
As far as I see it now, the best way seems to be:
Mlv --> dng --> acr with cinelog lut --> davinci --> cinelog to rec 709 lut --> filmconvert plugin from within resolve with arri alexa r709
But you have to pull the sliders for film color and curve down to something about 50%
The grain I usually take out completely as I don't like it - gorilla grain is much nicer in the end.
In my opinion FilmConvert works only if you just use it a tiny little bit, but than it can put in some magic.
ACR is so slow, you can just try cinelog for resolve, it has LUTs for ML raw and BMDfilm profile.
Quote from: QuickHitRecord on July 01, 2014, 05:14:29 AM
Also, I don't suppose that the FilmConvert module can't be used in-program yet, can it?
It can :)
Quote from: swinxx on July 01, 2014, 08:29:13 AM
I wonder how the ml raw files should be handled with filmconvert and resolve? In rec709 or in the bmdfilm preset? I have seen that there is a canon ml raw preset for filmconvert, but not found a guide..
I contacted FilmConvert the other day with this very question. It seems that the ML Raw setting is designed for handling files processed in ACR only: http://www.filmconvert.com/Help/Default.aspx?help_id=62
I just cut and edited this piece on Davinci Resolve 11 the other day. First time working with it. Had a bunch of crashes and random issues, but thats what you can expect from a beta release.
In the end though I was able to get everything I needed out of the program.
Lovely stuff. Could you describe your workflow in Davinci 11, as in your settings and general approach?
Cheers bud.
https://www.youtube.com/watch?v=Q1NOdTVeh60
Trailer editing with Resolve, skiing tones by A1ex! (Thanks)
https://vimeo.com/79940228
Wow, looks amazing.
What did you shoot on?
Quote from: Midphase on July 02, 2014, 02:23:32 AM
Wow, looks amazing.
What did you shoot on?
Thanks! A Full length film.
Right now is in independent festivals and a couple of cinemas in my country, Argentina (Maybe the next futbol world championship ;)
Looks very good. Which camera did you use?
Quote from: QuickHitRecord on July 02, 2014, 01:43:08 PM
Looks very good. Which camera did you use?
5D Mark III
But not good lens: 50 mm 1.8.
I did the ISO around 1600, and F4 for get more focus.
I didn't use any light except the environment.
I bought the Samyan T1.5 - 24-35 and 85 for next movie in two months. I was testing some shots and are amazing. And cheap ;)
If I can get HDMI output with ML in the viewfinder, I can use DaVInci in the set to set the color at the moment, and reduce focus problems. But MLV is not working fine with it. So, I will work with .RAW
I gotta tell you, the 5D3 with raw never ceases to amaze me. If you'd told me that you shot that on an Alexa, or even 35mm, I would have believed you.
Quote from: Midphase on July 03, 2014, 09:02:52 AM
I gotta tell you, the 5D3 with raw never ceases to amaze me. If you'd told me that you shot that on an Alexa, or even 35mm, I would have believed you.
As you know 14 bits RAW it's huge.
I work sometimes with Alexa and Red for commercials - not movies - , and very, very expensive lenses. Except the dynamic range - very similar as DUAL ISO with less noise in the blacks - 5D Mark III it's incredible. Compared with the new boys as Gh4 and his 4K, Sony X7, they are no better! I think 5D mark III Owners have a camera for two or more years with out missing quality.
Alexa Commercial with lenses and light! https://www.youtube.com/watch?v=yca53P37boo
Maybe someone is interesting in the new Apple Prores called 4444XQ:
ProRes 4444 XQ encodes 4:4:4 image sources up to 12 bits per image channel, with an optional alpha channel for high-quality compositing of graphics and animations. Like the rest of the ProRes family, the new version uses variable bit rate encoding to optimize file size. It features a target data rate of approximately 500 Mb/s for 4:4:4 video at 1080p resolution and 29.97 fps. (Source: http://www.apple.com/final-cut-pro/whats-new)
White Paper talk about could support 16 bits (Source: http://images.apple.com/final-cut-pro/docs/Apple_ProRes_White_Paper.pdf)
I'm trying to introduce all my footage into DaVinci Lite free, but for some works I have to use Final Cut X.
I don't know if this new format is usable for ML RAW 14 Bits. Maybe someone with more knowledge can clarify if this format - introduced in the Final Cut 10.1.2 - it's better for us.
Quote from: budafilms on July 03, 2014, 09:25:16 AM
As you know 14 bits RAW it's huge.
I work sometimes with Alexa and Red for commercials - not movies - , and very, very expensive lenses. Except the dynamic range - very similar as DUAL ISO with less noise in the blacks - 5D Mark III it's incredible. Compared with the new boys as Gh4 and his 4K, Sony X7, they are no better! I think 5D mark III Owners have a camera for two or more years with out missing quality.
Alexa Commercial with lenses and light! https://www.youtube.com/watch?v=yca53P37boo
i have a project coming up where I can use my 5dm3 or a red one mx...(since I haven't shot on the red mx) which one do you think is better for a feature project??
Quote from: nikki on July 07, 2014, 01:18:50 PM
i have a project coming up where I can use my 5dm3 or a red one mx...(since I haven't shot on the red mx) which one do you think is better for a feature project??
RED Mystrium!!!! have more dynamic range, something like 13,5 and in HDRx around 18 ( I don't think this is real). And you can put lot of lenses. and take 4K and reduce toFull HD or less.
http://www.red.com/products/epic-mx#tech-specs5D Mark III RAW around 10,5 to 11,5+- and dual ISO a little more, but it's not to trust in my experience - I loose a job for the stripes and noise.
Arri (Alexa) for my opinion is the best for skin tones. And have 13,5 stops. But the sensor or i don't know what perceive better blacks and the ARRIRAW format it's amazing.
http://www.arricsc.com/camera/alexa_spex.htmlI don't know your skills, but don't forget use good lights - good positions - and lenses ;)
Quote from: nikki on July 07, 2014, 01:18:50 PM
i have a project coming up where I can use my 5dm3 or a red one mx...(since I haven't shot on the red mx) which one do you think is better for a feature project??
Hate to say it (on an ML forum), but any time you have a chance to use a "pro" camera, use the pro camera. That's not to say that the RED One doesn't come with its own set of issues, but it's field proven over and over and it's a professional camera. ML is a hack, a damn good one at that, and one that I certainly like to use, but a hack nonetheless.
What you get with RED One is access to PL mount lenses, slow motion, no BS monitoring and playback, good audio inputs, and a raw format that technically doesn't require any transcoding of any sorts since most NLEs can deal with it natively. My main annoyance with the RED One is its proneness to crash or develop weird quirks that require restarts. Usually the rebooting process can suck up to 3 minutes which on a set can feel like forever. Plan accordingly.
I am enjoying the new Davinci Resolve a lot, but I'm stumbling over a lot of interface stuff. Sometimes it seems like I should be able to right click for a sub-menu, and it's just not there. Or I'll want to unlink two shots from the same clip so that I can grade them independently. Does anyone know of a good tutorial series (doesn't have to be free) that goes through versioning, grouping, linking, etc?
Quote from: QuickHitRecord on July 09, 2014, 10:52:11 PM
I am enjoying the new Davinci Resolve a lot, but I'm stumbling over a lot of interface stuff. Sometimes it seems like I should be able to right click for a sub-menu, and it's just not there. Or I'll want to unlink two shots from the same clip so that I can grade them independently. Does anyone know of a good tutorial series (doesn't have to be free) that goes through versioning, grouping, linking, etc?
I was thinking the same, but still is not to complex to catch de commands. Not very good tutorials on the web for the moment. In my opinion get the skill to manage color post processing from your style and objetives it's the point.
Quote from: Midphase on July 09, 2014, 06:31:48 PM
Hate to say it (on an ML forum), but any time you have a chance to use a "pro" camera, use the pro camera. That's not to say that the RED One doesn't come with its own set of issues, but it's field proven over and over and it's a professional camera. ML is a hack, a damn good one at that, and one that I certainly like to use, but a hack nonetheless.
What you get with RED One is access to PL mount lenses, slow motion, no BS monitoring and playback, good audio inputs, and a raw format that technically doesn't require any transcoding of any sorts since most NLEs can deal with it natively. My main annoyance with the RED One is its proneness to crash or develop weird quirks that require restarts. Usually the rebooting process can suck up to 3 minutes which on a set can feel like forever. Plan accordingly.
I have a question for you - I saw you in Resolve Forum and I supposed you can help me.
Do you know a way to reconnect original media in Resolve 11?
I mean, I start to work in Resolve with DNGs. And I have to apply some stuff in FCX. But, FCX can't recognize DNG, so, we have to export ProRes with the XML timeline from Resolve.
I want to export my final work from Resolve, directly from DNG to get the maximum quality. And not the ProRes used to edit in Final Cut.
Good question. You should start by watching this video:
http://youtu.be/AJzgpIdoUqw
I have yet to have to reconnect footage from Resolve to other NLE and back to Resolve when switching between CDNG and ProRes, so I don't have experience doing what you need, however I know it's totally possible and doable.
Is there any difference between 14bit DNG files converted with mlv_dump and 16bit DNG files created by raw2cdng? Should I convert 14bit to 16bit for better results in Resolve 10/11 ?
None other than for workflow reasons, some apps can only read 16-bit CDNGs and can't read 14-bit DNGs.
The extra 2-bits (16-bit CDNG) are not image data, just placeholders, so no extra quality gain :(
Quote from: jimmyD30 on July 15, 2014, 02:22:04 PM
None other than for workflow reasons, some apps can only read 16-bit CDNGs and can't read 14-bit DNGs.
The extra 2-bits are not image data, just placeholders, so no extra quality gain :(
[/quote
As I understood, it's the same work with 14 bits, as 12 bits. Because 14bits RAW have two bits with out information.
I'm not sure of this, but, it's a lot of size in our hard disk. I never tried apply this.
Quote from: budafilms on July 15, 2014, 08:07:46 PM
As I understood, it's the same work with 14 bits, as 12 bits. Because 14bits RAW have two bits with out information.
I'm not sure of this, but, it's a lot of size in our hard disk. I never tried apply this.
Wrong. It's the full 14 bits. Don't be throwing away that info!
Quote from: baldavenger on July 15, 2014, 10:03:13 PM
Wrong. It's the full 14 bits. Don't be throwing away that info!
Thanks! It's good to know!
Quote from: Midphase on July 14, 2014, 06:05:18 PM
Good question. You should start by watching this video:
http://youtu.be/AJzgpIdoUqw
I have yet to have to reconnect footage from Resolve to other NLE and back to Resolve when switching between CDNG and ProRes, so I don't have experience doing what you need, however I know it's totally possible and doable.
I got it!
The most important thing is to have the same name when you export file to edit into FCX. And you can use Pro Res Proxy to rise the size.
For example: A1ex folder and inside A1ex0001, 0002, 0003....
Export like as A1ex. extension (codec) you want.
OPEN and WORK in FCX.
So, supposed you have finish in FCX, export XML. Open in DaVinci and apply the next:
> Ignore file extensions when matching: Turn this checkbox on if you want to manually choose a different directory of media to link to, for example if the XML you're importing links to ProRes Proxy media, and you want to relink to another directory of corresponding ProRes 4444 media.
(Pag 375 - Davinci 11 Manual Guide are more option).
You manually reconnect the media to the original folder and the file called A1ex it's going to connect with the same folder name.
This gave us a lot of quality more, without loose generations of transcode and transcode ;)
I've got some strange issue with Resolve 11 on Mac OSX 10.9.3 with Nvidia GPU. When I open cdng (mlv raw) clips after upgrade footage looks bad (strange anti-aliasing). When I go back to Resolve 10 it looks fine again. Is there any log in Resolve to check for errors ??
Quote from: marekk on July 16, 2014, 11:14:51 AM
I've got some strange issue with Resolve 11 on Mac OSX 10.9.3 with Nvidia GPU. When I open cdng (mlv raw) clips after upgrade footage looks bad (strange anti-aliasing). When I go back to Resolve 10 it looks fine again. Is there any log in Resolve to check for errors ??
What is your raw playback quality set to?
Quote from: budafilms on July 02, 2014, 08:44:25 AM
Thanks! A Full length film.
Right now is in independent festivals and a couple of cinemas in my country, Argentina (Maybe the next futbol world championship ;)
Hey Buda...looks like someone is trying to steal your thunder. You should let these guys know that you have already shot a feature film in Magic Lantern!!!
http://www.cinema5d.com/snowflake-first-feature-film-shot-with-magic-lantern-seeks-crowdfunding/
Quote from: Midphase on July 17, 2014, 07:27:07 PM
Hey Buda...looks like someone is trying to steal your thunder. You should let these guys know that you have already shot a feature film in Magic Lantern!!!
http://www.cinema5d.com/snowflake-first-feature-film-shot-with-magic-lantern-seeks-crowdfunding/
Thanks Partner! I wrote recently in the site and in Facebook Fan's but they have the power of select the information. I hope more people can difference this and bring more people to here, to test and probe and get the " Raw" information to stay up to date, and donate to this fantastic project.
Thanks again.
Has anybody tried getting the new Apple ProRes 4444 XQ codec accessible in Davinci Resolve 11?
I have it working in AE/PP, but don't know how to add it to DR.
My guess is that Resolve will need to be updated to support that format. The nice thing is that lately Blackmagic seems to be on a roll between the new firmware, selling the Pocket for half price, and Resolve 11.
Quote from: jimmyD30 on July 19, 2014, 01:28:29 AM
Has anybody tried getting the new Apple ProRes 4444 XQ codec accessible in Davinci Resolve 11?
I have it working in AE/PP, but don't know how to add it to DR.
Not yet, but wait a little. DaVinci upgrades are very frequent!
@Midphase increidble disccount for the little one of BMCC If I live in USA... I will get one for a B cam!
Ok, will wait, just assumed once I had the new codec installed DR would automatically 'pick it up'.
It's supported in the new beta released yesterday ;)
http://software.blackmagicdesign.com/DaVinciResolve/beta/DaVinci_Resolve_Lite_11.0b2_Windows.zip (http://software.blackmagicdesign.com/DaVinciResolve/beta/DaVinci_Resolve_Lite_11.0b2_Windows.zip)
QuoteNew items in this beta include;
A New Deliver Page preset for "Video Sharing Export" - ideal for client previews etc
Ability to perform deck capture to QuickTime Uncompressed, ProRes (Mac and Linux) and DNxHD
Support for FCPX 10.1.2 XML (FCPX v1.4)
Encode and decode support for Apple ProRes 4444 XQ on Mac and Linux
Added AAF import zoom support for 3D Warp effect
Added ability to specify 'Timeline Name' as file name during renders
Improved H.264 rendering color compatibility
Improved shadow recovery
Improved DNG decode for some still image RAW images
Sweet, that was fast! I hope they fixed the problem with the app automatically resizing itself every time I change the view ;)
UPDATE: Resizing issue mostly fixed :) Now it only happens when switching to and from Enhanced View in the Color tab.
A silly note: Have you note that DaVinci it's perfect for work with RAW photos?
I'm not photographer, but when I need one of two it's better than Aperture Color and Photoshop ;)
Just export as you want, very faster with the soft that you used to.
And it's free. Like Mavericks.
I was trying to syncro Audio plus video. Because MLV RAW save the file with the same name as MLV Sound. But Davinci works with timecode smtp, something that as I know, we don´t have.
The process, for who are not familiar it´s easy: right click over the folder in the Media Poll - with audio and video inside - and that´s all.
So, don´t you know a way to syncro by names, or a free software who link both files?
Thanks!
Nice Tutotrial for BMC cameras format - the same as we use to ;)
https://www.youtube.com/watch?v=U059jPcjWew#t=1012
Nice tutorial.
Anyone know what shortcut key he is using to flip back and forth to the original ungraded image?
shift+D?
Shift+D disables the selected node.
I know that you can click the little unplug icon in the bottom left of the node tree window, but I was curious if it can be done by keyboard. No biggie.
Quote from: QuickHitRecord on July 26, 2014, 08:57:18 PM
Shift+D disables the selected node.
I know that you can click the little unplug icon in the bottom left of the node tree window, but I was curious if it can be done by keyboard. No biggie.
Command-D to disable all the nodes. (or maybe it's Option-D...dunno, I don't have Resolve in front of me at the moment).
I'm not able to export 2.35:1 footage as DNxHD Full HD with letterboxes. Resolve always streches the 2.35:1 frames vertically to match 16:9 ratio, I can't change this behaviour.
Any hints?
Back to 10.1.5 then.
Yes, double-posting. Please delete!
Quote from: eightcore on August 03, 2014, 07:21:05 PM
Any hints?
Look in your settings, there should be a way not to have the frame stretched out to match the size of the output.
In Davinci Resolve you MUST change your project settings to match the footage at the beginning of a new project BEFORE any footage is imported into the project, selecting 'change project settings to footage' (or whatever that pop up says) with the pop up window after adding footage does not do the trick, you'd think it would like AE or PP.
So, if that's what your doing, then it'll never be correct when you try to render in the delivery tab until you create a new project, update the project settings to 2.35:1 (in 3 places on the pop up project settings form to be safe, I think only 2 really matter for rendering) and then add your footage to the project.
I thought i read in the manual that you can change the resolution whenever you want and it will be updated
Immediately..
Has anyone found a way to permanently reset the workspace to fit the screen of the 15 inch macbook pro? Every time the view between tabs it expands beyond the constrains of the screen, utterly annoying!
Version 11 beta 2 fixes this (mostly), now it happens just on the color grading view when toggling the node view.
But yes, it's still annoying when trying to work quickly >:(
Quote from: jimmyD30 on August 04, 2014, 01:25:48 PM
Version 11 beta 2 fixes this (mostly), now it happens just on the color grading view when toggling the node view.
But yes, it's still annoying when trying to work quickly >:(
Yep, thats what I meant, now that it is out of beta I had hoped it is fixed, but it is still doing this! Am I the only one who is annoyed by this?
Can, t you send an issue/bug report straight to davinci resolve?
Quote from: Africashot on August 04, 2014, 09:55:22 AM
Has anyone found a way to permanently reset the workspace to fit the screen of the 15 inch macbook pro? Every time the view between tabs it expands beyond the constrains of the screen, utterly annoying!
Have you set the Macbook display settings to more space (1920x1200)? DVR doesn't support the standard retina resolution.
By the way guys, BMD just released the stable version of DVR11.
Link for MacOS: http://software.blackmagicdesign.com/DaVinciResolve/DaVinci_Resolve_Lite_11.0_Mac.zip (http://software.blackmagicdesign.com/DaVinciResolve/DaVinci_Resolve_Lite_11.0_Mac.zip)
Windows: http://software.blackmagicdesign.com/DaVinciResolve/DaVinci_Resolve_Lite_11.0_Windows.zip (http://software.blackmagicdesign.com/DaVinciResolve/DaVinci_Resolve_Lite_11.0_Windows.zip)
Quote from: fisawa on August 06, 2014, 07:15:46 PM
Have you set the Macbook display settings to more space (1920x1200)? DVR doesn't support the standard retina resolution.
Works :D
Quote from: Africashot on August 06, 2014, 06:04:03 PM
Yep, thats what I meant, now that it is out of beta I had hoped it is fixed, but it is still doing this! Am I the only one who is annoyed by this?
Yeah, beta 1 was worse, it happened every time you changed major views, not just within the color view like beta 2. But @fisawa found good solution.
Just so you guys know: the minimum screen resolution for DVR is 1680x1050, and that's written in the DaVinci config guide.
Quote from: fisawa on August 06, 2014, 08:22:35 PM
Just so you guys know: the minimum screen resolution for DVR is 1680x1050, and that's written in the DaVinci config guide.
Thanks, it's a good shortcut for write to Davinci Devs or find an external monitor equal or bigger than that.
In My macbook 13 doesn't fit, Only in the mac pro with a full hd.
Thanks fisawa, sorted my problem out! Looking forward to my next grading session already!
Is it possible to use 2 monitors (with windows)?
One to "work" with tools, and one to vizualise (play back)
I got only one Graphic card... is it possible now ?
If yes : how ?
Francis
Quote from: fisawa on August 06, 2014, 08:22:35 PM
Just so you guys know: the minimum screen resolution for DVR is 1680x1050, and that's written in the DaVinci config guide.
This resolution works too :D
Quote from: Francis Frenkel on August 07, 2014, 12:27:23 PM
Is it possible to use 2 monitors (with windows)?
One to "work" with tools, and one to vizualise (play back)
I got only one Graphic card... is it possible now ?
If yes : how ?
Francis
Best to avoid using the graphics card interfaces at all for the display you 'grade' on and instead use a mini monitor PCI on Windows and Ultrastudio mini monitor TB for mac.
You could feed your GUI monitor or monitors with the DVI, hdmi or Display port from your graphics card or multiple graphics cards and even a small monitor for the scopes.
Quote from: Francis Frenkel on August 07, 2014, 12:27:23 PM
Is it possible to use 2 monitors (with windows)?
One to "work" with tools, and one to vizualise (play back)
I got only one Graphic card... is it possible now ?
If yes : how ?
Francis
To playback on other monitor in DaVinci you necessarily need to have a Ultrastudio Monitor solution or something alike. But you can have 2 screens with the DVR UI and Scopes, for example.
I'm really impressed with this tool useful for MAC and PC. Try it!
http://www.magiclantern.fm/forum/index.php?topic=9560.0
@Midphase I think you tried.
Quote from: fisawa on August 08, 2014, 03:40:45 AM
To playback on other monitor in DaVinci you necessarily need to have a Ultrastudio Monitor solution or something alike. But you can have 2 screens with the DVR UI and Scopes, for example.
I already have 2 screens on my computer !
> but my question was ; is it possible to custom the Resolve windows, and push the playback windows on my other screen like I do with Sony Vegas Pro NLE !
Then you anwser is : non without Ultrastudio Monitor....
Quote from: Francis Frenkel on August 09, 2014, 05:03:36 PM
I already have 2 screens on my computer !
> but my question was ; is it possible to custom the Resolve windows, and push the playback windows on my other screen like I do with Sony Vegas Pro NLE !
Then you anwser is : non without Ultrastudio Monitor....
No...not possible right now. Your best option is to get yourself a PCI or USB3 or TB Blackmagic device that allows you to output 10bit HDMI, and then Resolve will see that as your main video display monitor for playback only, and the other monitor as the GUI monitor. Otherwise, right now there is no way to customize the panels.
I encourage everyone involved in this thread to create an account on the Blackmagic Design forum to ask these questions. You will get more accurate and quick responses from the Resolve community than the ML community when it comes to this particular application.
10bit output from the mini monitor or similar PCIe or TB device is not really the most important part imho, the strengths of the mini monitor type device is it bypasses the graphics card output interfaces and therefore avoids any levels scaling and OS Level ICC colour management. Which needs to be ignored because Resolve doesn't use ICCs.
It requires 3D LUTs for final calibration of the display created sensing the patches sent to Resolves display output, if a ICC display profile is active in that chain then the 3D LUT calibration will be screwed up by the active ICC profile. Which is even more an issue on a mac. Also if the monitors are also used for applications that use ICC profiles for colour management, such as LR or PS the ICC (1D gamma curve part) can load at boot or login as normal for use with ICC based apps without affecting Resolve IF a mini monitor is used to bypass active ICC's.
Not directly related to dual monitor set up but there's also factors like insufficient screen refresh rate support from computer monitors or automatic switching between refresh rates depending on project settings which would be supported by a dedicated display fed from the mini monitor and native screen resolutions rather than scaling to fit the GUI. Many computer monitors lack sufficient hardware controls to correct RGB separation, grey scale and pull the display into rec709 before final calibration with the 3D Display LUT in Resolves Monitor LUT project options. Fine if the computer monitor is decent and calibrates well.
But it can be better to use a couple of cheap 20 - 22" monitors for the GUI fed by the graphics card and spend the money instead on a larger dedicated display fed by a mini monitor over hdmi, even a decent 32 - 42" LED TV as dedicated display if finances are tight, upgrade later.
More refresh rates are generally supported, generally better hardware calibration controls although screen uniformity can be an issue and onboard TV colour management can be pretty poor screwing with RGB separation unless picking a decent make and screen size large enough to more easily see noise in the image at native resolution with no scaling artifacts. After switching all the motion smoothing and noise reduction off.
Quote from: Midphase on August 09, 2014, 08:48:16 PM
No...not possible right now. Your best option is to get yourself a PCI or USB3 or TB Blackmagic device that allows you to output 10bit HDMI, and then Resolve will see that as your main video display monitor for playback only, and the other monitor as the GUI monitor. Otherwise, right now there is no way to customize the panels.
I encourage everyone involved in this thread to create an account on the Blackmagic Design forum to ask these questions. You will get more accurate and quick responses from the Resolve community than the ML community when it comes to this particular application.
Hi,
Another option perhaps (do not tested with resolve) for ipad user, is a little app called twomonusb which allow you to use your ipad as a second or third monitor. I use it with premiere and ae and it´s working very well...it´s usb.
Quote from: Alfazzz on August 10, 2014, 10:53:06 AM
Hi,
Another option perhaps (do not tested with resolve) for ipad user, is a little app called twomonusb which allow you to use your ipad as a second or third monitor. I use it with premiere and ae and it´s working very well...it´s usb.
Resolve won't recognize it as a playback monitor. Resolve is coded to output a full image on an actual video HDMI/SGI interface, not to an iPad using USB.
If one wants to use 1 monitor as the GUI monitor, and the 2nd monitor as a full screen playback window, they need to get themselves a Video interface (ideally from Blackmagic so there are the least amount of issues).
Quote from: Midphase on August 10, 2014, 08:25:50 PM
Resolve won't recognize it as a playback monitor. Resolve is coded to output a full image on an actual video HDMI/SGI interface, not to an iPad using USB.
If one wants to use 1 monitor as the GUI monitor, and the 2nd monitor as a full screen playback window, they need to get themselves a Video interface (ideally from Blackmagic so there are the least amount of issues).
Another option is investing into a dualhead (http://www.matrox.com/graphics/en/products/gxm/dh2go/digital_se/?utm_campaign=DH2Go_SE_PR&utm_medium=PR&utm_source=PR) (or triplehead according to personal taste), which basically takes one video card output and splits it in 2 or 3, that way you can split the screen. I have no clue how it would look, but it's an option.
A friend of mine uses it for visual installations.
edit: rereading your post, the video interface you mentioned might as well do the same (I don't know it)
I BOUGHT A HACKED VERSION OF DAVINCI RESOLVE 11 IN CHINA, AND IT WORKS FINE, NEVER CRASHES LIKE THE HACKED VERSIONS ONLINE, IT WAS SHIPPED WITH AN USB DOGGLE... FOR A TOTAL OF 20USD
Quote from: gomogomo on August 11, 2014, 09:02:20 AM
I BOUGHT A HACKED VERSION OF DAVINCI RESOLVE 11 IN CHINA, AND IT WORKS FINE, NEVER CRASHES LIKE THE HACKED VERSIONS ONLINE, IT WAS SHIPPED WITH AN USB DOGGLE... FOR A TOTAL OF 20USD
We don't use illegally software.
Sorry, we work and participate in an open source under rules and norms.
I hope you can understand.
Quote from: gomogomo on August 11, 2014, 09:02:20 AM
I BOUGHT A HACKED VERSION OF DAVINCI RESOLVE 11 IN CHINA, AND IT WORKS FINE, NEVER CRASHES LIKE THE HACKED VERSIONS ONLINE, IT WAS SHIPPED WITH AN USB DOGGLE... FOR A TOTAL OF 20USD
WE ALSO REFRAIN FROM USING ALL CAPS!!! Resolve light is free; if you need the extra features pay for it!
Quote from: budafilms on August 11, 2014, 11:48:35 AM
We don't use illegally software.
A fine distinction.
We only use hacked Canon software.
Just for the record, if you get this, it should give you what you need:
DeckLink Mini Monitor
http://www.blackmagicdesign.com/products/decklink/models
For $150, it's a pretty affordable way use a monitor for video playback only in Resolve. The HDMI is 10bit, but unfortunately the large majority of monitors are probably restricted to 8bit. Nonetheless, it's probably the cheapest and easiest way to assign the video playback to a specific monitor while using the other computer monitor as the Resolve GUI.
Dedicated video playback via Mini Monitor isn't just restricted to Resolve btw.
http://www.blackmagicdesign.com/products/decklink/techspecs/ (http://www.blackmagicdesign.com/products/decklink/techspecs/)
You'll see that the device is also supported in AE CC, FCPX, PS CS, Premiere CS, Nuke & Avid Media Composer, Sony Vegas Pro etc etc. So even more useful, whether on Resolve, not sure whether to move to Resolve or no intention to move.
10bit is least important. I don't think many will see that as a reason to purchase.
(https://scontent-b-ams.xx.fbcdn.net/hphotos-xpf1/v/l/t1.0-9/s640x640/10461311_798772776811676_3675823353296223297_n.jpg?oh=269a678eaa7d8dad8bcf38d2823da026&oe=547DA614)
Quote from: baldavenger on August 12, 2014, 02:50:53 AM
(https://scontent-b-ams.xx.fbcdn.net/hphotos-xpf1/v/l/t1.0-9/s640x640/10461311_798772776811676_3675823353296223297_n.jpg?oh=269a678eaa7d8dad8bcf38d2823da026&oe=547DA614)
what is this? interesting... can you expand?
They profiled the individual cameras with colour charts under controlled conditions, giving them the input values so they know how to transform those through the FilmConvert process to arrive at all the emulated film stocks, just like they did with h264 camera profiles.
They too suggest BMD Film for colour space for raw and with HR on for all clips regardless. Only time HR is needed is if the raw data gets clipped and judicial use of HR can be detrimental. ML provides a raw histogram with clip alerts to avoid the HR problem and minor clipping of highlights is just that.
Why is BMD Film being recommended everywhere for raw? Is Canon raw data sufficient to spread over a wider gamut. Are the red and blue photo sites on Canon sensors receptive to capture well beyond 709 or is it more about adopting the BMD gamma curve for raw and unfortuneatly with that comes the wider gamut colour space beyond what is required?
For end to end in Resolve for raw what point is BMD Film, 11 offers much more raw control compared to 10. Or does BMD Film help with all the 3D LUT ***kery masquarading as grading going on. Going to log curve of some sort for grading outside of Resolve fair enough.
Quote from: dyfid on August 12, 2014, 11:39:17 AM
For end to end in Resolve for raw what point is BMD Film, 11 offers much more raw control compared to 10. Or does BMD Film help with all the 3D LUT ***kery masquarading as grading going on. Going to log curve of some sort for grading outside of Resolve fair enough.
What is really truly needed is a correct Input transform in Resolve for the ML raw data. Unfortunately when it comes to ML raw, Resolve is really just guessing and the best we can do is feed it the next best thing which is BMD Film, but it's not truly the best setting since it's designed for the BMD cameras which obviously have different sensors and different ways to process color.
Unfortunately (and here I get myself in trouble again) this is what happens when there is so much emphasis being put on how to squeeze every little capability in-camera, but not much as to what happens once the data leaves the camera. I wish I had knowledge on how to create the correct Input profile, and connect with Blackmagic to get them to implement it into Resolve. Unfortunately I barely understand it as a user, and my mental resources are pretty much all tapped out by the skill set that I require to make a living.
BMD works for me in the meantime, so this is just to answer your question.
Thanks for the reply, comparing raw -> BMD FILM with raw -> Rec709 in Resolve, I see no real reason so far to use BMD but it's personal choice, I understand that.
Do you apply a BMD to Rec709 3D LUT for output or just grade the BMD output until it looks the way you want and fore go the final output transform from BMD -> Rec709?
Going to the final colour space and adding gamma is the very last operation on raw so Resolve 11 gives control over shadows, highlights, saturation etc before colour space and gamma are added, it's 16bit data so even with Rec709 gamma applied there's enough levels available to support about 16 f-stops comforatbly more than enough to play within without the need to use BMD Film transform.
Depends which way to go about it I guess, process raw -> BMD and grade without Rec709 Output 3D LUT giving all that room in shadows and highlights as it's log but having to inject contrast and saturation or work with a Rec709 Output LUT over and pull shadows and highlights into play, nothing is lost.
The BMD Film and colour space are specific to their cameras, just like the idea that a proper transform for Canon raw is required. Can't help thinking that part of the BMD Film and colour space transforms and 3D LUTs are to massage specific BMD sensor colour bias, which you can bet are not the same colour bias's in Canon raw and could be more detrimental to Canon raw rather than helpful.
I though one of the goals of DNG & CinemaDNG was to provide all the necessary data required for transforming without the need for an application to know the specifics of a certain camera, as long as those specifics are open and transparent, assume the other Camera raw options in Resolve such as BMD's exist because they don't want to provide that information.
But for Canon raw has no one profiled the cameras like FilmConvert have done, in order to add the correct info into the DNG's for Resolve and other apps to interpret? Non of the .MLV and .RAW to DNG wranglers have this functionality? Other than a basic matrix and black level?
Quote from: dyfid on August 12, 2014, 08:30:11 PM
Thanks for the reply, comparing raw -> BMD FILM with raw -> Rec709 in Resolve, I see no real reason so far to use BMD but it's personal choice, I understand that.
Processing the RAW footage in DaVinci using Rec709 is a very bad idea. I tested and the results were terrible. See this topic I created with examples. At the end of the topic, I show a test of a workflow using the VisionLUT and I got similar results to processing in ACR.
http://www.magiclantern.fm/forum/index.php?topic=12824.0
Your test doesn't really tell much, my comments relate to Resolve end to end rather than exporting log as an intermediate which would be the preferred route if not doing Redolve 11 end to end.
But with access to raw data and control at a raw level under the Rec709 curve on 16bit data at 32bit precision I personally don't see any point in log unless its for some 3D LUT ***kery.
Did you use the raw exposure helpers or the ML YUV jpeg based tools. The latter will give you about 2 stops under exposure I believe.
Were you also viewing through a decent Rec709 gamma curve like BT1886 or sRGB display curve the latter could appear as if shadows were crushed.
But either way its just defaults, you have the ability to go back to raw data and adjust below the curve within the limits of the captured raw data depending on a decent control of exposure.
The colour match tool in Resolve is a helper for matching different sources under same lighting conditions not a one button substitute for eyes on the scopes and some basic adjustments primary corrections on the default raw interporation.
Quote from: dyfid on August 16, 2014, 07:03:41 PM
Your test doesn't really tell much, my comments relate to Resolve end to end rather than exporting log as an intermediate which would be the preferred route if not doing Resolve 11 end to end.
[...]But either way its just defaults, you have the ability to go back to raw data and adjust below the curve within the limits of the captured raw data depending on a decent control of exposure.
The colour match tool in Resolve is a helper for matching different sources under same lighting conditions not a one button substitute for eyes on the scopes and some basic adjustments primary corrections on the default raw interporation.
Well, for me, Resolve end to end it's not an option now, and to make decent proxies for editing in FCP/PP, using the Rec709 the colour rendition was terrible. My workflow was just a way to try to match the image to the ACR default processing, which is very nice by itself and good for proxies.
And yes, the color match tool is no substitute, but I'm just an assistant editor making proxies, not a CC ;)
Quote from: fisawa on August 17, 2014, 05:56:48 PM
Well, for me, Resolve end to end it's not an option now, and to make decent proxies for editing in FCP/PP, using the Rec709 the colour rendition was terrible. My workflow was just a way to try to match the image to the ACR default processing, which is very nice by itself and good for proxies.
And yes, the color match tool is no substitute, but I'm just an assistant editor making proxies, not a CC ;)
I guessed that and understand, however all my comments related to ML raw in Resolve end to end, no proxies or log intermediates. But I query whether the Rec709 colour rendition was terrible due to under exposure. Which is why I queried whether ML raw exposure aids were used or the YUV ones. I've personally not had bad experience with Resolves raw to Rec709 output defaults using the raw exposure tools. Never mind tho.
Quote from: budafilms on July 08, 2014, 08:03:50 AMI loose a job for the stripes and noise.
I didn't see any stripes in your 5D shots, do you have any advice in terms of lighting or other to avoid it?
Sorry to go off topic..
This looks like a very handy tool for assisting with correcting footage and colour grading, and it's free :)
http://www.m2port.com/index.html (http://www.m2port.com/index.html)
(http://www.m2port.com/images/Intro.jpg)
(http://www.m2port.com/images/zoneSCOPE_Window_Types.jpg)
(http://www.m2port.com/images/Intro3.jpg)
Too bad it's only for PC. I tried a number of workarounds but as of yet no joy. I'd love to get it working though as I believe it would be of great help to my work.
@baldang interesting! I hope this for Mac!
It's a commercial product with a time limited beta release? Oct 2014?
OS really doesn't matter as I'd assume it would be run on a dedicated machine, to get realtime playback of multiple scopes, use a seperate monitor and GPU assisted using a feed from your grading app free of any OS level colour management such as through a BM mini monitor.
Alternatives would be something like BM Ultrascope.