Brent Marginet
Forum Replies Created
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The mixer has three modes “Clip”, “Live” and I believe “Auto” if it’s set to Live then you will get the “Filter…” choices you are seeing. Switch it back to Clip and you should then see the Set Pan In/Out choices you are looking for.
\”MY MEDIA/PROJECT MOTTO: If you think three copies of your Media or Projects are enough. Take a moment to place a value on them and then maybe add two more. Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN\’T.\”
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What type of QT Movie are you exporting, ProRes, DNxHD or other.
What are you viewing it with, QT, VLC, etc.
What are you setting your output video levels to Auto, Data or Video.As an example even if you have everything set properly in Resolve and you export as DNxHD the Blacks will look lifted as you said when viewed in QT-7 even if they are correct. Try bringing the Video into another NLE to see if it looks correct there.
\”MY MEDIA/PROJECT MOTTO: If you think three copies of your Media or Projects are enough. Take a moment to place a value on them and then maybe add two more. Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN\’T.\”
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Don’t forget that you will not only have to deliver the show as 29.97 Interlaced but it will also likely need to be 29.97 Drop Frame. This poses a cut length issue. As an example a show that must be delivered as 45;50;00 with say 5 x 10 second blacks will need to be cut to 45:47:06 at 23.976 with 5 x 10 second blacks.
I wish I could help you more on this but I always use Avid to do these conversions and so I’m not that familiar with how it’s done in PP.
\”MY MEDIA/PROJECT MOTTO: If you think three copies of your Media or Projects are enough. Take a moment to place a value on them and then maybe add two more. Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN\’T.\”
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I don’t know if this helps but I’ve never had Resolve crash with a DCP-O-Matic DCP.
\”MY MEDIA/PROJECT MOTTO: If you think three copies of your Media or Projects are enough. Take a moment to place a value on them and then maybe add two more. Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN\’T.\”
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That’s correct there are practically no options with Closed Captions.
This was done on purpose to stop people from doing fancy stuff that would cause CC to be difficult to read.The only way to get more options is to do them as Subtitles and then export a web friendly subtitle file.
I can’t exactly remember all the formats that are available but the one I usually use is a WebVTT File.
It doesn’t have a lot of options either but at least it doesn’t look like the text in your first image.\”MY MEDIA/PROJECT MOTTO: If you think three copies of your Media or Projects are enough. Take a moment to place a value on them and then maybe add two more. Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN\’T.\”
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We have found the solution.
Use EasyFind to locate an Open I/O driver named “OpenIO_Blackmagic.acf” in up to two locarions. Once located, right click on each one and “Reveal in Finder”, then trash each one from the folder that it has opened. Easy Find won’t directly trash it itself and you will have to type in your admin password in when trashing each one. Next Empty the Trash.
This is an issue that has only started in Sierra and High Sierra for us.
\”MY MEDIA/PROJECT MOTTO: If you think three copies of your Media or Projects are enough. Take a moment to place a value on them and then maybe add two more. Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN\’T.\”
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The industry we work in is dominated almost 100% by ProRes Mastering, Archival and Deliverables.
We just finished a series that had Seven Deliverables per episode. This included both full texted and textless versions in UHD and one HD OP-1a. The texted and textless UHD Versions had to be delivered in either ProRes 4444HQ or XQ. Thankfully this was all done in Avid and Resolve. My point is that it’s just not feasible to create high bitrate 4444 DNxHR and then take it over to a Mac to convert it all to ProRes for two reasons. The shear size of the extra DNxHR outputs and extra conversion time would kill us, especially at the 11th hour. Seems like any production could have a 10 Year start on a project and it would still always come down to the wire. That’s more of the reason why I’d slit my throat if I had to use Windows than actually using Windows.
Once again we have Apple to thank for being GREEDY A-HOLES and holding back licensing of the ProRes Codec from Apps like Avid, Adobe, Resolve and so on. I’m really tired of there choke hold grip on the industry especially when even one else plays fair.
\”MY MEDIA/PROJECT MOTTO: If you think three copies of your Media or Projects are enough. Take a moment to place a value on them and then maybe add two more. Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN\’T.\”
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The industry we work in is dominated almost 100% by ProRes Mastering, Archival and Deliverables.
We just finished a series that had Seven Deliverables per episode. This included both full texted and textless versions in UHD and one HD OP-1a. The texted and textless UHD Versions had to be delivered in either ProRes 4444HQ or XQ. Thankfully this was all done in Avid and Resolve. My point is that it’s just not feasible to create high bitrate 4444 DNxHR and then take it over to a Mac to convert it all to ProRes for two reasons. The shear size of the extra DNxHR outputs and extra conversion time would kill us, especially at the 11th hour. Seems like any production could have a 10 Year start on a project and it would still always come down to the wire. That’s more of the reason why I’d slit my throat if I had to use Windows than actually using Windows.
Once again we have Apple to thank for being GREEDY and holding back licensing of the ProRes Codec from Apps like Avid, Adobe, Resolve and so on. I’m really tired of there choke hold grip on the industry especially when even one else plays fair.
“MY MEDIA/PROJECT MOTTO: If you think three copies of your Media or Projects are enough. Take a moment to place a value on them and then maybe add two more. Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN’T.”
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I think he may mean he’s been working on it for 50 Hours not that there’s 50 hours of footage.
Please correct me if I’m wrong though.
\”MY MEDIA/PROJECT MOTTO: If you think three copies of your Media or Projects are enough. Take a moment to place a value on them and then maybe add two more. Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN\’T.\”
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This is now not only starting to perplex me, its also starting to piss me off.
The one Laptop that Cuda, Metal and OpenCL works on gives me the same performance even if I choose “Software Only”. Im running tests with one particular file and it encodes it more than twice as fast as the other Mac Book Pro even with “Software Only”. There’s no difference in encode speed no matter what I choose and AME always says that “Hardware Acceleration” is being used even when I set it to “Software Only”. This makes no sense.
This is definitely an Adobe issue because Resolve is using Cuda, properly on all 8 of my systems but not Adobe.
We really need Adobe to step in and help us here.
\”MY MEDIA/PROJECT MOTTO: If you think three copies of your Media or Projects are enough. Take a moment to place a value on them and then maybe add two more. Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN\’T.\”