Here's another free tutorial for ya, please consider becoming a channel member to keep me going! Read more on the blog: www.matjoez.com/2023/02/20/using-lrtimelapse-with-davinci-resolve/ Buy LRTimelapse 6: www.matjoez.com/lrtimelapse DaVinci Resolve Studio: www.matjoez.com/DaVinciResolveStudio
at 3:10 u forget to mention that message from LRT: "Internal Export & Render: Intermediary Sequences will always be Jpg, 8-bit, Rec.709. use the LRTExport Lightroom Plugin to export intermediary sequences in higher quality."
hi Matthew, which is better for stabilizing a hyperlapse revealed in LR. import it to davinci and stabilize or import it to davinci, export it to video and then stabilize?
I prefer stabilising image sequences as you skip one step of compression. Photo > stabilisation > video, is better than Photo > video > stabilisation > video. Hope that makes sense.
@@MatthewVandeputte I'm not sure I understand this process. What application are you stabilizing in? Once we are in Davinci, the file is already a video file. Thanks
why not export dng from lightroom, then import the dng sequence and generate proxy media or optimised media, cut on that, but grade original dng files? what happens to your colour space during tiff conversion? i mean, raw is raw, then it gets into what srgb while transferring to tiff? then what is the colour space of the prores 4444? what about the debayering process? where and how is that happening? shouldn.t it be handled in resolve? dng is a raw format, tiff is a lossless one. there is a difference here. with tiff i understand it can hold all data possible, however if you bottleneck the signal pipeline downstream, you could end up with a 16bit 4444 chroma subsampling rec709 baked in look, so, even though your prores is 16bit 4444, you colours inside are still rec709 already debayered and mapped into srgb or rec 709 (i don.t know this and it matters to me as a colourist). do i make myself clear... not sure... let me know if you get my point. i am currently working with dng sequence in resolve and making sure i don.t bottleneck the signal before getting into the colour page while having proxies generated in order to get smooth playback.
Here's another free tutorial for ya, please consider becoming a channel member to keep me going!
Read more on the blog: www.matjoez.com/2023/02/20/using-lrtimelapse-with-davinci-resolve/
Buy LRTimelapse 6: www.matjoez.com/lrtimelapse
DaVinci Resolve Studio: www.matjoez.com/DaVinciResolveStudio
Clearly and concisely answered all my questions using this software for the first time. Thanks!
Great to hear!
Great video Matt!!
Glad you enjoyed it
I was able to export Panasonic RW2 Raw files from Adobe Bridge that open in Davinci as a sequence. Shot on the Panasonic G9
the files will open, but the colours will be displayed in the wrong way (from my testing)
at 3:10
u forget to mention that message from LRT:
"Internal Export & Render:
Intermediary Sequences will always be Jpg, 8-bit, Rec.709.
use the LRTExport Lightroom Plugin to export intermediary sequences in higher
quality."
rather confused about the 2 options at the top:
"Export & Render Current Sequence" VS "Render Pre-Exported Intermediary Sequence (from Lightroom)"
hi Matthew, which is better for stabilizing a hyperlapse revealed in LR.
import it to davinci and stabilize or import it to davinci, export it to video and then stabilize?
I prefer stabilising image sequences as you skip one step of compression. Photo > stabilisation > video, is better than Photo > video > stabilisation > video. Hope that makes sense.
@@MatthewVandeputte I'm not sure I understand this process. What application are you stabilizing in? Once we are in Davinci, the file is already a video file. Thanks
Does DaVinci resolve (free version) able to generate high-quality video or need to buy the studio version?
up to 4K works in free version
why not export dng from lightroom, then import the dng sequence and generate proxy media or optimised media, cut on that, but grade original dng files? what happens to your colour space during tiff conversion? i mean, raw is raw, then it gets into what srgb while transferring to tiff? then what is the colour space of the prores 4444? what about the debayering process? where and how is that happening? shouldn.t it be handled in resolve? dng is a raw format, tiff is a lossless one. there is a difference here. with tiff i understand it can hold all data possible, however if you bottleneck the signal pipeline downstream, you could end up with a 16bit 4444 chroma subsampling rec709 baked in look, so, even though your prores is 16bit 4444, you colours inside are still rec709 already debayered and mapped into srgb or rec 709 (i don.t know this and it matters to me as a colourist). do i make myself clear... not sure... let me know if you get my point. i am currently working with dng sequence in resolve and making sure i don.t bottleneck the signal before getting into the colour page while having proxies generated in order to get smooth playback.
Great tutorial. A pity that the money goes to Adobe with their monthly never ending subscription system.
Is it just me, or does that cloud look like it has horns?
Evil water vapor...