On my last project I ama linked to the source material and if it was 4096x2160 I would FrameFlex it to 3840x2160 as we were delivering UHD. I then took the resulting DNxHRHQX clips and transcoded them to to DNX 36. I never checked the box to bake in the FrameFlex cropping of the wings of the shot. So all the metadata tracked fine. In my case I still had the 4K bins and separate offline transcoded HD bins. All these clips still had the source settings metadata of the original FrameFlex. I had no issues but I'm curious what the proper workflow would be if I only had the final locked sequence for Online. Without the original bins that had the FrameFlexed source clips how would the get translated to the Online Uprez?
If I just ama linked to the original source media the resulting clips in the bin would be virginal without any FrameFlex. If I then relinked the Final Locked Online sequence to these new clips wouldn't the FrameFlex on the original clips be removed when the sequence is now linked to virginal clips? I know if I put a LUT on source clips in offline when it comes time to online if I used virginal ama linked clips they would have no LUTS and when the final sequence is linked to them the LUTs would not be there. This is how it's always worked for me with LUTs and given LUTs and FrameFlex are both Source Settings don't they both behave the same way. I need to tinker with this just for my own edification. Perhaps the FrameFlex would stick initially but if I updated the Spatial Adapters in the sequence I would think that would surely remove the offline FrameFlex.
On Thu, Oct 16, 2025 at 11:34 PM, Mark Spano wrote:
If you are talking about relinking inside MC, then I believe this is how it works. If the low res proxies were made at the source resolution, which they always should be in an all MC workflow (!), then FrameFlex will work as intended since the raster of the low and high res are the same.If you are talking about conforming in Resolve from a MC timeline, then no, nothing of FrameFlex will translate. However, if the only thing FrameFlex was used for is to fit or crop in the basic settings, then you can set Resolve's timeline input sizing to match and these will work. I recently worked on a feature where the footage was shot anamorphic ARRI RAW, and the dailies were made as HD 1920x1080 but active picture inside was a scope letterbox. Thankfully the production wanted to finish in scope, so the basic Resolve crop with no resizing worked for 90% of their clips. I always try to reach out if possible to offline to advocate for only resize and 3D Warp. Anything else just doesn't make it, including sizing within Matte Key clips and the dreaded Submasters (shudder).
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