C. Ryan stemple
Forum Replies Created
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I can’t speak for 444 DNxHD on it personally, nor ProRes 444 for that matter, in all honesty – most of the projects I’ve offline edited lately have been ProRes 422 in FCP or the DNxHD equivalent (115) in Avid. THAT I can assure you has been incredibly smooth.
My assumption would be that it could handle 444 material in much the same manner. We are talking about increasing the bitrate and expanding the color space, but it’s not as drastic a change as say bumping up to 2K or 4K.
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Carl Ryan Stemple
Color | Edit | VFX
digitalbarbershop.com -
Indeed! MC6 is optimized for Lion and, in my case anyway, runs like a dream.
That being said though, I’m running on 10.7.2, not 10.7.3, which I’ve heard from my peers had some initial trouble with MC6 when the OS update first came along.
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Carl Ryan Stemple
Color | Edit | VFX
digitalbarbershop.com -
Hey there, Marcus
You seem to be reading the Resolve 8.0 manual – we’re up to 8.2 now! Here ya go:
https://www.blackmagic-design.com/media/3358646/Resolve%20Mac%20Config%20Guide%20Mar%202012.pdf
Check out pages 21-23. That should clarify everything for you. In short, yes you indeed can use the Ultrastudio 3D, with supported BMD certification!
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Carl Ryan Stemple
Color | Edit | VFX
digitalbarbershop.com -
Absolutely in agreement with Gustavo on this one. It’s pretty easy to say “just shoot with film,” but when you’ve got a client (or better yet, yourself) caught in a situation where they WANT a filmic, analogue texture, but can only afford to shoot in HD…well, you do what you can do.
From that stand point, this seems like a really killer solution, and I certainly plan on getting my hands on that 4K scan. The singular issue that I have with every film grain simulation is that, from my perspective at least, there’s a very tactile difference between anything we can conjure up and the real-deal.
There’s a very subtle…fluidity to the grain in chemically processed celluloid that seems to flow naturally with the motions on screen. Most of the time, an overlay will give the illusion of this effect – but I’ve never seen a digital grain simulation that’s able to 100% accurately match it.
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Carl Ryan Stemple
Color | Edit | VFX
digitalbarbershop.com -
Hey there, Eric.
If you’ve already transcoded to DNxHD, then this round trip workflow might work well for you:
https://www.youtube.com/watch?v=60vSLLekX6Q
It doesn’t hurt that the guy giving the tutorial has some pretty funny dry humor. 😛
Hope this helps!
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Carl Ryan Stemple
Color | Edit | VFX
digitalbarbershop.com -
You know, I’ve never had FCP crash on me a single time in all the years I’ve used it. Which is weird, because I work in tech support at a college that runs FCP — at which it crashes for people on a daily basis (albiet not NEARLY as much as the Avids). Even when I go into the suites and try my hardest to break it again, I always seem to be in its favor.
It’s kind of like Apple winking at me personally, saying, “You’re cool, dude. We good.”
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Carl Ryan Stemple
Color | Editorial | Photography
digitalbarbershop.com -
Hey Andrew,
You can always…like, guess at where 64 and 940 are (your broadcast safe limits for HD).
But in all seriousness, here’s the best explanation I was able to find for how to set your limits in Resolve:
https://forums.creativecow.net/thread/277/3060#3061
The main kicker here is that you really need an external scope for it to work with 100% accuracy. Hope this helps.
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Carl Ryan Stemple
Color | Editorial | Photography
digitalbarbershop.com -
That is odd. If I was in your situation, here’s what I would do:
– Quit Resolve.
– Create a new folder.
– Copy (or move, but I would recommend you copy) all of your footage into that new folder.
– Restart Resolve, and go through all the necessary steps to load the clips into the Clip Details window.Give that a shot. If that doesn’t work, try doing the same thing but to a different storage device (you may have to add that storage devise to Resolve if you haven’t already).
Just curious, what does your setup hardware and software-wise look like? Good luck!
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Carl Ryan Stemple
Color | Editorial | Photography
digitalbarbershop.com -
Hmmm…you’re right-clicking the folder to add clips into the Media Pool, in the Media Storage window? If you’re trying to add individual clips into the Pool, try instead left-clicking on the folder itself in the Media Storage window (not it’s “+” drop-down). Your footage should appear in the Clip Details window to the right. Select all of the footage you want, and then right-click, and select “Add into Media Pool.”
This should get ’em in the Pool for you! Now all you have to do is go to the Conform tab, go to the Timeline Management window, add a new timeline, and all of your clips in your media pool should be in your timeline.
Now, if you’re going via an EDL, XML, or have a self-contained clip of an entire project that needs cut-up, that’s a different story with slightly different steps.
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Carl Ryan Stemple
Color | Editorial | Photography
digitalbarbershop.com -
My impression was that Lite was limited to an upper resolution of 1920×1080. But you might be scaling the “4K’ down to HD, so maybe that’s allowable.
When I first saw Lite being tested, the colorist had imported Arri Raw files into the media pool and was coloring (what at least was my impression) those very same files. Looking at the Blackmagic comparison table now, it seems that Lite can indeed handle 2 and 4k material in the timeline, but can only render out to a maximum of 1920×1080.
So essentially, you can color with that comparatively large latitude at hand, but you’ll only be able to get HD quality material as an end-product.
At least, that’s the impression that I get, looking at the stats.
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Carl Ryan Stemple
Color | Editorial | Photography
digitalbarbershop.com