[Chris Borjis]

I too have had “CUDA issues” of late.

multicam is impossibly clunky, even with a mere 3 camera angles/tracks.

I used to be able to do 6 without any problem.

Did some reading and apparently CUDA is buggy right now and the recommended
workaround is to use OpenCL til NVIDIA gets it together.

I switched to OpenCL and the multicam is now working smooth as it should.

Running Mavericks here.

[Chris Borjis]

are you exporting with “use maximum render quality” checkbox enabled?

if so, try it without…I’ve found some odd things happening in cc 2015.02
when max quality is enabled on export

[Chris Borjis]

left out an important part to make sure each one is properly channel routed in the mixer
and panned:

L (1&2)pan left
R (1&2)pan right
C (3&4)pan left
Lfe (3&4) pan right
Ls (5&6) pan left
Rs (5&6) pan right

This is a standard SMPTE 5.1 track order

[Chris Borjis]

One other key item to be aware of: (I have done 5 DCP’s so far)

In premiere, make sure you have each surround stem in a mono track and NOT
a multichannel mono track.

Otherwise, when you export the stem, the audio levels will be lowered considerably.

[Chris Borjis]

Typically I do it at -3 to -2 peak.

The reason is, clients have complained of levels being to low
at typical broadcast levels…a lot of folks don’t have amplified speakers.

[Chris Borjis]

What about importing the second ungraded project into the graded project. Or vice versa.

Are you keeping all the media in the existing project folders?

example:
Footage
Graded Footage

[Chris Borjis]

It’s usually best to acquire / record in the highest bit rate possible.

[Chris Borjis]

one other thing that can make dolby audio quiet is if dialogue normalization
is not set for -31

apple compressor was notorious for this in it’s default configuration.
(it would lower audio substantially)

[Chris Borjis]

I concur with what Walter said and also need to point out you mentioned Colorista.

That’s a 3 way color corrector add on with some additional bells and whistles
to work within premiere or AE, not a separate app for grading.

For me it boils down to if it can be done in premiere and accomplishes the need, then that’s where
I’ll be doing the correction…especially after the lumetri portion of speedgrade
was added to premiere, because, frankly the 3 way corrector that comes withe premiere
is not very good.

External grading apps have their place and I do use them for long-form projects
from time to time but I don’t need to use it for everything.

[Chris Borjis]

I know that paragon makes an ext3 read/write utility for mac to
do the copying but last I checked it could format to ext3
but not inode 128 which is critical.

The way i do it, I use the free version of vmware and have
a linux virtual machine and use it for the partitioning
and formatting to ext3 and inode 128.

I also use a linux only utility called dcp_inspect that
verifies the integrity of the DCP after it’s copied
as further insurance.

If you know it’s only going to a few theaters you could
probably contact them and ask if they are compatible with NTFS.

You might also try to find a local theater that plays independent
films and see if for a fee they will load and let you preview
the DCP. I have one a few blocks away from our facility
and they charge $ 100 per loading/showing.