[Christian Schumacher]

Steve, for stereo I like boxes like these;

https://www.edifier.com/int/en/speakers/s1000

[Christian Schumacher]

[Matt Hannon] “I am working on a brand new 5k iMac with upgraded RAM, I’ve exported hundreds of videos in exactly the same way on previous machines and never had a problem. It is a brand new iMac, maybe there’s something in my settings on the new machine, or it something in the settings of the new version of Premiere Pro that need to be changed?”

Matt, new iMacs have P3 displays so if you have After Effects [which can be set to display more common color spaces like sRGB] you can paste or import clips from Premiere and then see how to proper match those outputs. Premiere Pro Creative Cloud does not have this ability, unfortunately. You’d have to compensate for this. [or color correct directly in After Effects] Another reference:

https://forums.adobe.com/message/9255446#9255446

[Christian Schumacher]

[Bryce Moose] “So there is no way to display a a window within resolve onto a second display?”

See, this is why nobody is rushing to Resolve to edit just yet. But the edit side has been improving in a rapid pace, so expect it to be on par with Premiere very soon. When I’m in a gig where there’s no Black Magic video output, I choose to use SHIFT+F to toggle full screen mode on the computer display, and this may help you a bit with this specific problem. Cheers, Christian

[Christian Schumacher]

[Bryce Moose] “It’s already been cut with transitions added etc. Am I correct that having transitions added will screw up the color correction in resolve?”

There are two ways to send timelines to color correction

1- The crude way is to export sequence as a file – or sequential files
Then yes, all transitions takes need to be resent separately in order to reconstruct those edits

2- And then, “the” optimal way, which is to send a XML in the case of Premiere and open that in Resolve to restore your edit with transitions and repos and so on. There’s exceptions but it translates very well. This is very good if you need to change something but I would try to lock picture as much as I could so you don’t loose time experimenting with an actual project. Try setting up a reduced timeline with your media and type of effects and export a FCP XML and import that in Resolve as a test. Anyway, if you are close to finish your film in Premiere, maybe first do so and then finally color correct it in Davinci Resolve?

[Christian Schumacher]

[Bryce Moose] “okay great. Is it possible that resolve will eventually not be free? I’m a little skeptical that a program can be free for ever.”

Note that Davinci Resolve – the full version – is sold with output greater than UHD , 3D and noise reduction for a 1,000 USD. And consider that its owner – Black Magic Design – is after hardware sales, for example, this full version is included with hardware they sell – like cameras. But the the thing is, the free one has a lot of capabilities, and it does work as a marketing tool for the company. As to any change to this policy, I doubt they will charge someday for it, since Fusion, a new application they recently acquired, is following the same strategy.

[Christian Schumacher]

[Bryce Moose] ” Weird. When I exported my movie as pro res and imported it in resolve the colors were off.”

In Resolve. Go to Project Settings > Color Management and turn off the checkbox next to “Use Mac Display Color Profile for Viewers”

[Christian Schumacher]

The way I’m doing at the moment is to relink at the folder level on the Premiere project pane. One has to choose “Make Offlne” first in order to do that. The next step is obviously to choose to relink your media – or folder – and then you can use the relink window in Premiere which is very fine with several options to choose from. Anyway, It is flawless with R3D media and MOV proxies produced outside of the Adobe application. Additionally, have been relinking other media, like regular video, audio and graphics files with no troubles in PP 14/15 OSX 10.10. Have little experience with XDCAM on those Adobe set ups except for a few files though.

[Christian Schumacher]

[Oliver Peters] “Actually neither side will be QT-dependant. Apple already has moved off of QT in its Pro Apps. That’s been so for several years now. Avid and Adobe are working to replace QT components across the board so there won’t be any dependencies there. Just because a media file is wrapped in a .mov container does not mean that it can’t be accessed or modified by other applications without being QT-dependent.”

Thanks, Oliver. But what about software like Nuke, Smoke/Maya or Resolve/Fusion? Is it the same reasoning?

[Christian Schumacher]

I wonder what kind of gremlins will rise up on dual platform media software when the Win side has no quicktime any longer, but at the same time, that software on the Mac side remains quicktime dependant?

[Christian Schumacher]

[Mark Suszko] “As polite as he was, you could tell just how stung Murch continues to feel about the 7/x change-over drama.”

“I just wanna play the piano” was precious and also the rental car analogy. Maybe he’s on the cow?