[Danny Scotting]

Hi Rohit, thanks for the reply, unfortunately that has not worked.

When I view the rendered files back using “embedding in source clip file” I get no reel number at all in the browse page (or when I add to a timeline then try to conform). It is also listed as “ROOT” when trying “media pool folder name”.
However I started a new project and ticked “source clip file pathename” but just left it in its default mode which is – */%R?%D I can now see the reel name is expect to see.

However, I am concerned that this information is not in the header of the .dpx as it seems like the formula is creating the reel number rather than allowing me to see it.

The render is to go out to an edit suite and then an online suite and the reel number info must be in the header for conform as the timecode is useless.

Any ideas? Anyone??

Thanks Rohit.

Danny

Danny Scotting – Commercial Colourist
EFILM Sydney
Latest Reel – www.efilm.com.au/home/people/18

[Danny Scotting]

Beauty, thanks Rohit!

[Danny Scotting]

I just tried the same thing and am getting a definite green hue. Can’t find any setting to neutralise this.

Am I missing something? Can I change the settings as I would Red or Arri clips??

Help is appreciated.

Danny

[Danny Scotting]

Raw Phantom QT are not yet supported, however a quick conversion to DPX using Gluetools works really well.

You can keep timecode or assign it new timecode on conversion and adjust various picture setting in the Gluetools preferences but best to leave as is until grading stage.

Bit time consuming if there is a stack to convert but other wise works great.

Hoping for update to read it natively soon along with ARRI Raw support, both cameras starting to be used heavily here!

[Danny Scotting]

The Reason your Render had ROOT reel names was probably due to the fact that your assist using reel names was wrong. If you tick the box that render the files in to reel names folders etc its will use ROOT as default if it can’t find original reel names.

[Danny Scotting]

Great info and just goes to show if you have the right system it is worth waiting only 10-15% longer for 10bit DPX instead of ProRes422 to keep the online and effects work high quality!

[Danny Scotting]

I agree with Rob in the the Linux version is VERY stable. There were a few teething troubles since BMD updated it but really happy with it.
Only just getting round to installing the mac version and so far so good.

Haven’t used colour yet and hope not to, had the opportunity to work on Lustre, Baselight and even Scratch for some digital rushes and to be perfectly honest Resolve is, by a long way faster, more powerful and ultimately more user friendly than any of them. Especially for commercials.

Added to that that I have had a system bug and with the help of my supplier and the guys in Singapore had a new build installed and problem fixed within 90 mins of discovering the problem!

From what I’ve heard about Colour you’d be lucky to have rendered a 30″ TVC in that time, let alone have apple even acknowledge there is an issue.

Kim I admire your persistence with an effectively free product and good luck with Colour long term but its not even a close competitor in reality and unless you have shares in Apple I’d be upgrading as soon as I could. You might have clients WANT to attend your sessions then.

[Danny Scotting]

I apply the same workflow as you Darin, just to be sure.

Surely if the res displayed in the media pool for any other type of media is actually what it is then the same rules apply to Red Footage??

My HD .dpx doesn’t say 1024×576 even if its 1920×1080.

I’d recommend that workflow Michael as it doesn’t take any more time to sort out and gives you peace of mind.

[Danny Scotting]

I found the same issue and I think its the resolution you are seeing as when you go to render that resolution is there also.

For a work around set it to full res premium to begin with then once you have a timeline built go back and reset it to quarter res good and you should get realtime playback without any issues.

Hope that helps.

[Danny Scotting]

I use the R4 and regularly output to Digi, the power master will output source code but won’t allow you add pre and post black which affects the ingest in the online slightly. Can be gotten around by extending the handles though.
Also in my facility the code only lays out to tape when we force the digi deck into VITC. Auto & LTC won’t bring the code in.

Danny

Danny Scotting – Colourist
EFILM Sydney
Latest Reel – https://www.efilm.com.au/home/people/18