[David Roth weiss]

There have been so many changes and additions to Resolve since v.11 that you’ll
be raising this type of question over and over again if you keep training using that out of date tutorial you’re using now. Ripple Training has many terrific tutorials for 12.5 that are very reasonable, and they are presented by the author of the official Resolve Training Manuals. There are many free tutorials available as well if you don’t want to invest any $$$ in your future. Just don’t keep trying to learn using a tutorial that’s now three versions out of date, becsuse you waste everyone’s time doing that, including your own.

David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los Angeles

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[David Roth weiss]

And, taking Darren’s good point a bit farther, Apple and Nvidia have been at odds with one another for a long, long time at this point, guaranteeing that all of us in the video business get inferior GPUs with inferior drivers and inferior performance when we purchase any new Mac computer. When those GPUs could be replaced with superior Nvidia cards no one complained too much, even if you had to eat brand new ATI/AMD cards. If Apple gave a lick about its customers (that’s you guys, folks), they would have figured out a solution to their disagreement Nvidia a long time ago. Anyone care to debate that?

David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los Angeles

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[David Roth weiss]

Gotcha Alison… This is getting even more interesting, and have possibly ruled out some of the possible variables, albeit some that would tend to make my job a tad easier. But alas, have no fear, I haven’t had a failure to revive a $&@)ed-up FCP project yet in all my years of helping people here. There is always a first time for everything, so don’t start celebrating just yet.

David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los Angeles

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[David Roth weiss]

I’m with you brother Darren, and I’m not going anywhere near a parachute or any open door on any aircraft in flight (unless it’s a camera copter).

David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los Angeles

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[David Roth weiss]

Was this material color corrected/color graded? If so, I’d be willing to venture that these artifacts were a product of overzealous cranking on one or more of the various parameters or settings in the color app used in the process.

David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los Angeles

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[David Roth weiss]

Darren,

Trust me, I’m certainly no Apple fanboy, and even more so, I’m not at all a fan of the trashcan MacPro, however, I will say that you my friend have had some really bad luck. In fact, I’ve never heard of any one person having as many catastrophic hardware failures as you’ve listed above with Apple computers. While nothing surprises me any longer about Apple (they won’t fool me ever again), I just have to say that your number was up for some reason, so rather than blaming Apple in your case, you may want to have your karma evaluated, because you have beat the odds in a negative sense. I would not recommend any trips to Vegas or Monte Carlo until you get this karma thing sorted out, and, if you’ve been considering scaling Everest any time soon, you might want to reconsider.

David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los Angeles

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[David Roth weiss]

Probably won’t work at all, because the chip set inside the SATA enclosure requires data from a chipset on a PCIe card that’s purpose built for that job. A single SATA drive and an eSATA RAID enclosure are very different animals, just because they share the four letters SATA does not mean they are the same or operate similarly.

David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los Angeles

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[David Roth weiss]

Video is indeed 72dpi – you can increase the numbers in Photoshop, but it won’t change anything but the numbers, the true resolution will be 72dpi even if you change the number to 300 or 600dpi.

David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los Angeles

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[David Roth weiss]

You haven’t mentioned the type of source footage you’re dealing with, which is essential in any “forensic” investigation of video issues in the world of non-linear editing. However, I’m assuming that it’s footage from a prosumer camera using .mp4, h.264, or some other MPEG variant; and you have either one or more of the following issues:

1) no reel numbers embedded in the original camera files

2) all timecode on all files begins at 00:00:00:00

3) the directory where those files are located is not 100% identical to that of the editor

4) all of the above

I can probably solve this riddle for you, but not for free. If you decide you need my help, call
me at 3-ten, seven 29-79, zero six.

David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los Angeles

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[David Roth weiss]

Your idea of a viable workflow is simply way, way, way unrealistic. Your understanding of roundtripping between apps, especially a workflow involving multi-cam, compositing, differing pixel dimensions, and color correction is just not how these things are done.

Unless you’re staying within the Adobe “ecosystem,” or, staying inside Resolve for editing, compositing, and color, you will never be able to achieve exactly what you’ve described.

To do what you’re hoping to do, using both Adobe and Resolve, you would almost certainly need to pre-color correct your footage in Resolve before editing and compositing in Adobe.

David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los Angeles

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.