NEW DAVINCI RESOLVE 11. COLOR + EDITING TOOLS.

[budafilms]

[budafilms]

Trailer editing with Resolve, skiing tones by A1ex! (Thanks)

[Midphase]

Wow, looks amazing.

What did you shoot on?

[budafilms]

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

[QuickHitRecord]

Looks very good. Which camera did you use?

[budafilms]

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

[Midphase]

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.

[budafilms]

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!

[budafilms]

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.

[nikki]

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!

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??   

[budafilms]

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-specs

5D 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.html

I don't know your skills, but don't forget use good lights - good positions - and lenses

[Midphase]

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.

[QuickHitRecord]

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?

[budafilms]

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.

[budafilms]

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.

[Midphase]

Good question. You should start by watching this video:

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.

[marekk]

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 ?

[jimmyD30]

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

[budafilms]

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.

[baldavenger]

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!

[budafilms]

Wrong.  It's the full 14 bits.  Don't be throwing away that info!

Thanks! It's good to know!

[budafilms]

Good question. You should start by watching this video:

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

[marekk]

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 ??

[Midphase]

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?

[Midphase]

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/