[Catalin Brylla]

Joseph, many thanks for your reply.

With speed effects I don’t mean only preplanned speed changes, but changes to sort out unclean camera tracking shots or extend reaction or POV shots, if they are too short. From what you suggest, the best way (in Avid) is to ama link to the particular shot in the offline stage, transcode it to DNxHD 220, offline edit, send AAF to Resolve, link to original media and replace just that one clip with the DNxHD 220 media. Correct?

Re stills and pan-and-zoom, I would do the same: create in Avid, consolidate just that clip, and then link to the Avid mxf media in Resolve, right?

Catalin Brylla
Filmmaker – Editor – Lecturer
http://www.catalinbrylla.com
Mobile: 07789004745
Skype: cbrylla

[Catalin Brylla]

Diane,

There is no point using ProRes 422. You can use ProRes 422(LT), which still has a higher data rate than the H.264 files you transcode (which are 8-bit only).

Use the EOS plugin for FCP to transcode via Log&Transfer. Saves you using Compressor.

Catalin Brylla
Filmmaker – Editor – Lecturer
http://www.catalinbrylla.com
Mobile: 07789004745
Skype: cbrylla

[Catalin Brylla]

Ok, I just did a test, recompressing the sequence with the media manager (ticking “create new project” and unticking “delete original media”) and it worked: the conformed test sequence is exactly the same as the original. It seems that even the original clips’ handles were transcoded, so I can trim. That’s great. I am going to do this with the whole sequence (takes 6 hours) and report back.

Shane, could this have worked because all original clips had unique clip names, despite not having reel numbers?

Catalin Brylla
Filmmaker – Editor – Lecturer
http://www.catalinbrylla.com
Mobile: 07789004745
Skype: cbrylla

[Catalin Brylla]

Thanks Shane. Yes, I wish I would have done it with your workflow. Important lesson for me.

So, what can I do now? Will changing the Reel number in the browser help?

Jerry, do you mean by “reconform” transcoding the sequence?

Catalin Brylla
Filmmaker – Editor – Lecturer
http://www.catalinbrylla.com
Mobile: 07789004745
Skype: cbrylla

[Catalin Brylla]

Thanks a lot for your advice, Jerry and David.

David, doing it your way at this stage is no option, as it is a 35-minutes film with quite a lot of cuts.

Jerry, your solution sounds good (kind of similar to Avid, where transcoding and reconforming sequences is so much easier), but I have some questions:

1. if I highlight the sequence, will it not create new media clips IN ADDITION TO the new media clips from the capture scratch?

2. Maybe I could just transcode the sequence into a new project, and the simply copy it to the old project. This would save me some harddrive space, as I am not likely to add more shots to the fine cut.

Oh, I forgot, I might need to do the odd trimming here and there, so I want to add handles to the sequence clips. However, in the media manager I can only add handles if it deletes the original media, which I don’t want to happen. Any workaround here?

Catalin Brylla
Filmmaker – Editor – Lecturer
http://www.catalinbrylla.com
Mobile: 07789004745
Skype: cbrylla

[Catalin Brylla]

This is amazing!!!! Thank you very very much, Mark. Now I have to practice it.

Catalin Brylla
Filmmaker – Editor – Lecturer
http://www.catalinbrylla.com
Mobile: 07789004745
Skype: cbrylla

[Catalin Brylla]

Hi, has there been any development in here? I am looking for a soundkey-similar plugin in FCP. A previous poster suggested Motion, but I haven’t been able to do it. Any hints, please?

FYI, I would like to animate properties of a video clip (such as scaling) according to audio properties (such as volume).

Thanks.

Catalin Brylla
Filmmaker – Editor – Lecturer
http://www.catalinbrylla.com
Mobile: 07789004745
Skype: cbrylla

[Catalin Brylla]

Thanks for all the feedback. Maurice, I agree with you, but I think without a proper standard, there would be colour anarchy.

I have bought the MXO2 LE and the new Panasonic TH-42PF20E (professional Plasma). Grade 1 monitor will follow in a couple of months. Will report back about the setup soon.

Catalin Brylla
Filmmaker – Editor – Lecturer
http://www.catalinbrylla.com
Mobile: 07789004745
Skype: cbrylla

[Catalin Brylla]

Thanks for clarifying this, Walter and David. This has bugged me for some time.

As for my monitoring options, the Flanders is not an option any more as import duty and VAT would bring the price up to £2400.

I have shortlisted the following two:

TV Logic LVM-172WE – 17”
Res: 1366 x 768
HD-SDI, component, DVI-I
1:1 mode with HD
Contrast: 900:1
£1935
[https://www.dsvideo.tv]

or

JVC DT-V20L3D – 20”
Res: 1680×1050
HD-SDI, component, DVI-I
1:1 mode with HD (1920 x 1080 pixel array)
Contrast: 700:1
£2100
[https://www.jvcpro.co.uk]

Has anyone had experience with the two to compare? People criticise the viewing angle of the JVC, but the size is a plus point in my opinion.

Catalin Brylla
Filmmaker – Editor – Lecturer
http://www.catalinbrylla.com
Mobile: 07789004745
Skype: cbrylla

[Catalin Brylla]

Thanks for the advice, David. But can I not assume that the normal consumer will actually not calibrate their TVs in their living rooms? Most people are just happy with the vivid colours, and do not bother to monitor. So, when I grade something that is going to be watched on consumer TVs (from DVD, not broadcast), should I not cater for that, knowing that TVs are very vivid, like you say? Isn’t this the reason why many sound mixers listen to the final mix on crappy TV speakers to hear what a consumer would hear?

Catalin Brylla
Filmmaker – Editor – Lecturer
http://www.catalinbrylla.com
Mobile: 07789004745
Skype: cbrylla