Dan Moran
Forum Replies Created
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I agree with Juan that the ProRes is probably the way to go.
Also did they accidentally reset the timecodes to 00:00:00:00 on each clip or is it a random new timecode?
If it was a zero code you can match the timecodes in Resolve via the clip attributes it could save you a bit of time as the EDL will work again.
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Dan Moran
Colourist
Smoke & Mirrors: London
http://www.danmorancolor.com/blog -
Probably the sample footage
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Dan Moran
Colourist
Smoke & Mirrors: London
http://www.danmorancolor.com/blog -
not sure if it works on mac but on linux we use a alias folder that can link folders so resolve thinks its looking at the cinespace folder but its actuallly a folder on our san that all machines can see
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Dan Moran
Colourist
Smoke & Mirrors: London
http://www.danmorancolor.com/blog -
You’ll need to speak to your Resolve system builder about that. You need the DVD as it will install everything you need
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Dan Moran
Colourist
Smoke & Mirrors: London
http://www.danmorancolor.com/blog -
In our place that would go under mastering
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Dan Moran
Colourist
Smoke & Mirrors: London
http://www.danmorancolor.com/blog -
I’d like to think we have this setup nailed.
We have 3xMacPro’s with gtx680’s and 2xLinux Resolves all sharing databases.
A typical commercial or music video would go like this.
Conform from a g-raid on one of the mac systems. Render DPX to our san with 50 frame handles in source mode and use original clip name ticked with 2 levels of subfolder.
Open the project on the Linux Resolve via Database Browser and add the wrangled DPX files from the SAN.
These will fall into place on your timelines.
Grade Grade Grade.
Once the project is finished hit save.
Open it on one of the Mac systems again via the Database browser
Render your ProRes or DPX files for Flame/Smoke back onto the G-Raid Drive.
Done!
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Dan Moran
Colourist
Smoke & Mirrors: London
http://www.danmorancolor.com/blog -
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Just to correct on what I said earlier. I think you guys have the best pricing out there. My personal hate is people that charge hundreds of dollars for one “emulation” lut I didn’t realise you get quite a bit with your package. Looks good!
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Dan Moran
Colourist
Smoke & Mirrors: London
http://www.danmorancolor.com/blog -
Just grade your footage to look like the stock. It’s not that hard!
I am not impressed with grading LUTs at all. You are limiting your creative control of the footage by using them.
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Dan Moran
Colourist
Smoke & Mirrors: London
http://www.danmorancolor.com/blog -
Hey Man,
Have you tried limiting the render speed? That might help as far as I can remember. I’ve not had the same problem but I do have a Red Rocket card that might be making the difference
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Dan Moran
Colourist
Smoke & Mirrors: London
http://www.danmorancolor.com/blog