Bill Ravens
Forum Replies Created
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Well, the good news is that Resolve and Media Composer are programmable on surfaces. The bad news is not with the Avid Artist. I’ve been using both Avid Artist Color and Tangent Wave surfaces. The latest release of the Tangent Wave HUB controller allows programming to all the hot keys in Media Composer. Unfortunately, I haven’t figured out how to map the wheel or balls to the color controls in Avid. But, The Wave works really well with Resolve. I’ve virtually discarded the Avid Artist as unuseable…even with Media Composer.
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Not sure it’s related, but, just in case, I’ll note that the title tool and marquee does not work if you’re in a 4K project.
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I agree with you, Glenn. In today’s environment, there’s no reason a workspace that can span multiple monitors isn’t implemented. Needing to buy a 4k monitor just to be able to edit is, IMHO, totally unreasonable.
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I struggled thru the same exercise you are now asking about. Ultimately, I ended up buying, over time, both the Avid Artist Color and the Tangent Wave. In short, the Avid Artist color was a total waste of my money. Without going into all the problems I had with it, it’s enough to say that it only partially works within Media Composer Symphony.
The Tangent Wave works perfectly with Davinci Resolve. In addition, the latest version of the Tangent Hub allows me to program an incredible functionality into it for Media Composer.I will say that I have not been able to program the BALLS to function with the color wheels. Having said this, however, I will note, also, that the Color Wheels in Avid work exceedingly slowly(unacceptably slow with a lag) even with the Artist Color. In short, I’m better off using the mouse to adjust the color wheels in Media Composer.
All things considered, i would highly recommend the Tangent WAVE with the Hub application.
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One of the intrinsic advantages to Resolve is how quickly BMD keeps the application updated for the latest industry technology developments. I would venture to say that Adobe is relatively static, needing many months to catch up to the latest technological developments.
One could argue that a dynamically changing software environment is a disability, due to the need to learn new techniques and workflows. But, I’ve found this keeps me always ready for clients with the latest camera or technology needs.
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In order to carry original source path from Resolve into Media Composer, the only thing I can think of is manually entering the source path as Reel name.
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As was alluded to earlier….step one is to connect your reference monitor via a color accurate interface, like the decklink. Step two is to use a calibration software designed, not for photography, but to calibrate to a REC709 color space. The one I use is Spectracal’s CALMAN RGB. It will work with your I1 and give you an ICC profile. The ultimate step 3 is to invest in a monitor or LUT box that will feed a wide gamut monitor, so you can tailor the corrections better than an ICC profile can do.
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My personal expereince with a slew of diffferent USB3 interface cards is that not all of them meet up to the advertised thruput of USB3.I’ve found that the claims made by bus card manufacturers NEVER claim their cards make the USB3 comm speed, only that they “use” USB3. Having said that, you may want to try different interface cards until you find one that actually passes data at USB3 data rates. The only way to really tell what your system thruput speed is, is to test it with something like Blackmagic’s Disk Speed tester.
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I’d break up the timeline into shorter working pieces.
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I use this workflow fairly often. The only thing to watch out for is how Resolve assigns tape/reel name to your exported DNxHD. I always check off “ASSIST USING REEL NAMES FROM THE”/”SOURCE CLIP FILE NAME” in the conform options window.