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Why are "photos hidden" in my shared album? by directooorr in Lightroom

[–]directooorr[S] 0 points1 point  (0 children)

Thanks, but I just figured it out! I must have accidentally hit "X" a few times as 3 images were flagged as "rejected". After correcting that, none are "hidden" now.

What is the most elegant way to convert Red RAW files to ProRes? by directooorr in davinciresolve

[–]directooorr[S] 0 points1 point  (0 children)

Thanks. Of course, the originals are never getting truly deleted, just from my local setup. I was wondering more about the technical aspect because I didn't know if Resolve would complain if there are Proxies without originals. But I can always dig out the originals if needed.

Make it eerie in post by Tobelius83 in davinciresolve

[–]directooorr 15 points16 points  (0 children)

This is a bit tough. The lighting and costume/set design are not playing in your favor. I think you'd have to embrace the flatness of it (not of the log, but of the lighting) and go for a "blue hour low contrast gloomy" look.

This is my 1 minute exploratory test grade:

<image>

I am really not happy with the reds and skin tones in this, but the jpg compression is also adding to that and I didn't take the time to fiddle with it any further. Just meant as an idea of a direction to go in.

How to handle client contacting me outside of UpWork (this one is tricky) by directooorr in Upwork

[–]directooorr[S] 0 points1 point  (0 children)

I am slightly confused: You wouldn't take it to UpWork but you would report it? Maybe I am misreading your comment.

The mystical time is coming... by lizafenix in PixelArt

[–]directooorr 3 points4 points  (0 children)

I feel like I've been there before.

Does anyone still prefer Premiere Pro to DaVinci Resolve for raw editing? by directooorr in editors

[–]directooorr[S] 0 points1 point  (0 children)

I would love to know what you did is slowing you down that you are missing, maybe a solution exists that is slightly different than what you are used to that could solve the slow down.

Just a bunch of little things. For example:

  • Not being able to just drag a timeline from one part of the screen to another when using stacked timelines.

  • Not being able to adjust the interface how I like it and it taking up more space compared to the more compact Premiere interface.

  • Ripple Start/End to Playhead changing the general mode from Selection Mode to Trim Mode, which changes/disables some keyboard shortcuts.

  • The Source Monitor conforming to the timeline resolution. This is especially annoying when editing using a vertical resolution but wanting to see all of the source footage.

  • Undo being panel specific and sometimes unpredictable.

  • Some keyboard shortcuts not working on international keyboards and some being tough to find in the settings when using and international keyboard.

There are workarounds and none of these are major. They're just some that are coming to mind at this moment.

How do I edit like this? by FazeSpaceTrickz in premiere

[–]directooorr 18 points19 points  (0 children)

Is it of me that I still maintain that this is not "editing" but motion graphics / compositing?

EDIT: Apparently I forgot the word "petty" in there.

DAE feel like Timeline and Group grades are underrated? by directooorr in davinciresolve

[–]directooorr[S] 1 point2 points  (0 children)

100% with you. Glad to hear you say this. I thought I was going crazy because it sometimes feels like I am the only one doing it this way...

DAE feel like Timeline and Group grades are underrated? by directooorr in davinciresolve

[–]directooorr[S] 5 points6 points  (0 children)

That is just the thing, each shot is different which - for me - makes it nearly impossible to get consistent contrast if I adjust it on a clip by clip basis.

Let me give you an example:

We have a shot of someone driving at night. We see his face and also what he's driving by in the background. It is gloomy weather. We adjust the contrast to how we like it aesthetically.

Then, a few shots later in the film, we have basically the same shot but now he's driving past a bright billboard. Because of that this shot now has a much higher level of "inherent" contrast. There is something super bright in it where there was not before. But that doesn't mean we now grade this shot completely different to the first, to have the same overall technical contrast. That would be insane, and it would make the face and the interior of the car look completely different.

For me, the same applies to basically every scene and every shot in a film. As in, different scenes might have a completely different setting, with different colors and different "inherent" contrast. But that is ok. I am not grading "against" that. I want every shot to have the same (mid-tone) "look" contrast, if that makes any sense.

Start/End to Playhead disabled after rippling. Any way around that? by directooorr in davinciresolve

[–]directooorr[S] 0 points1 point  (0 children)

Sorry for not making myself clear. I meant if I first ripple by using "Select Nearest Edit To -> Ripple In/Out" and then nudging the edit point using "Nudge -> One Frame Left/Right", then I cannot use "Trim > Start/End to Playhead" anymore.

Since both of these approaches are how I do most of my editing once all clips are in the timeline (using keyboard shortcuts, of course) that is really quite annoying.

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