Andrew Sableton
Forum Replies Created
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In next 21 days
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That’s why you will always keep at least one previous version of any piece of major production software on a cloned bootable drive. There is no problem here at all.
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In my experience having all media transcoded to one DnXHd codec prior to AAF round trip is the only way to get reliable results. Taking a shortcut on this will probably cost you more time and headaches later.
S
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I was already on local grades….. then selecting “Use Local Grades” after having graded half my sequence deleted every grade I had made.
S
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Yes……hard to know where the “error” occurred…. it appears to be a pretty low budget indie film….. I suspect that the makers got used to the log look in the edit and then became convinced that was how their film should look….I’ve seen this phenomenon with inexperienced and / or dumb flimakers I’ve worked with on a couple of projects….
Certainly I found the film very hard to watch looking like that…….
AS
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I prefer to just have multiple boot drives…always keep at least the one version prior as a backup until my next major update….so i can always go back and this eliminates any possible conflicts.
AS
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I vote to end the failed experiment of dividing the DAVINCI forums into “Basics and Configuration” and the main “Forum”.
S
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After about a day trying to work it out, turns out the timecode on the pro res proxy files does not match the timecode on the R3Ds…..
Outstanding DIT work….
S
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Hmmm…..you are right….that works…..strange because I am sure I read somewhere that you should put the LUT in the last node because the LUT adjustments are not 32bit float but 10bit calculations so any adjustments after that point work on inferior math – all this is a little esoteric to me but seems to make sense.
Well…thanks anyway….looks good to me this way….
AS
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AVID is a mixed bag and I don’t love it…..some things work well, others are clunky…..for file based workflows, which is almost everything these days, it can be a bit clumsy…. but having used FCP 7, FCP X and Premiere as well, I would say the same in different ways for each app.
In the biggest production city in the Western world (Los Angeles), there has been a tidal shift back to AVID, for better or worse… At least it is more open for I/O and cheaper than in the past……
Whatever people say about native workflows, I’ve found any workflow that involves moving between apps benefits greatly from consolidating to a single, post friendly codec.
It seems to me the process you are describing for FCP 7 is basically the same as you should be doing for and AVID workflow – simplfying / baking the timeline (video mixdowns in AVID terminology). I think the difference is more of familiarity rather than complexity or bugginess in general.
S