David Roth weiss
Forum Replies Created
-
You’re not actually editing the video Duke… You’re only editing metadata (data about data) about the video.
David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los AngelesDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
-
Because it’s beta software it can reside next to your non-beta version. So, no reason to worry about running the uninstaller.
David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los AngelesDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
-
If you’ve done some projects then you already know that Resolve is now a very capable editing tool. You can always keep FCP on standby, but Resolve should be good to go from here.
David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los AngelesDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
-
Are you exporting self contained files or reference files??? Adobe will certainly not be able to support reference files.
David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los AngelesDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
-
FCP does this when you try to edit h.264 files. If I’m correct, you’ll have to transcode to ProRes and recut over your existing cut.
David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los AngelesDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
-
Why not use MPEG Streamclip to demux? It works… It’s free… It’s pretty much an industry standard.
David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los AngelesDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
-
You never know exactly what you’ll get when add a drive that is not precisely the same in every way to the other drives in the Raid set. It must certainly is not advised by the manufacturer, and you could end up with a completely messed up Raid, including data loss and/or just bad performance. What you will definitely get is a that drive with larger capacity dropping down in both performance and capacity that matches the other drives in the array. So, a 4Tb drive will only show up as 1Tb if the others in the array are 1Tb, and that is just the least of the issues you might encounter.
David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los AngelesDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
-
Duke,
Don’t let Alex’s discussion of “lossy” compression upset that newbie head of yours… it’s a technical term, not one that describes a visually apparent loss of quality. And, your eyes are just fine, there is no monitor at any cost that would be good enough to show you the difference between your camera original and that material transcoded to ProRes. The only way a trained engineer can tell the difference between the two is to use a “difference keyer,” which can be used to show a visual representation of the pixels that are different between a frame of the original and the same frame of the transcoded version, i.e. these differences bring the lost pixels. Trust me, in your case it would be just a few green and blue pixels that would never reveal themselves to you in your moving video.
And, until you replace the video card in your new machine with a newer and GPU, your new computer will not reveal its power to you. In the day when your machine was built Cuda processing was not built-in to NLE software yet, and the cheap powerful GPU cards we have today simply did not exist. A Quadro 6000 card, would have cost you $6800 in those days, while today you can buy more powerful cards for $600.
David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los AngelesDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
-
The software developers at BM and the original developers at DaVinci, have given us an entire pallet of tools that perform many similar functions that work in very different ways to achieve different results depending on the task at hand. Many of the tools have very subtle differences in their programmed behaviors, while other tools are fed less subtle and easier to interpret visually. If you spend the dough to get Alexis Van Hurkman’s in-depth training from Ripple Training he takes you through virtually every tool in the Resolve toolset, and he explains and shows you how each of different tools is programmed to accomplish different tasks you may encounter in your role as colorist.
FYI, since Alexis writes the Resolve manual for Blackmagic, you’ll have a hard time finding a better source of info about the toolset in Resolve.
David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los AngelesDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
-
Trust me Duke, I’m very well aware of your epic adventure in hardware acquisition. Transcoding to a hi-oetfirmance editing codec such as DNX will be very helpful to you. As Oliver wrote, editing h.264 is not easy on any computer, so you’ll notice a huge improvement in your editing experience with DNX. Plus, if you export a DNX master at the end of the edit you’ll have a superior master to archive for future editing or repurposing at a later time.
David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los AngelesDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.