[David Roth weiss]

Virtually impossible to achieve an undetectable fix Nick. Because there are variables such as the input by the camera operator (hand speed, combined with the actual mechanics of the aperture itself, an aperture change is neither a linear event nor one that follows a predictable curve. You’d probably do better making a cut there, cutting in an extra good from the next good frame on both the head and tail sides of the cut, and maybe trying optical flow or from blending effects to merge the frames as best as you can.

Does this make sense???

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]

[andy lewis] “Thanks David. I’m talking specifically about the use of a Prores transcode as part of a grading or compositing workflow, not about mastering or archive.
“

I understand Andy, but honestly, the transcoding decisions we make today as part of a grading or compositing workflow, and mastering/archiving are really ALL very much tied together.

Yes, you can discuss each operation on it’s won, but ultimately, every editor should be thinking about the “entire” media pipeline, which often (or usually) stretches well beyond the more immediate decisions most typically think of.

As one of the now “elder statesmen” here, I just want to make certain that ALL Creative Cow users think about the long-term realities of asset management that typically only those of us with 20, 30, or 40-years of experience have seen through our careers. Make sense?

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]

[Tim Wilson] “I think FCP had gone as far as it worth going, which is why, after 2005, it didn’t really go anywhere, other than the addition of Pro Res in 2007 — admittedly a game changer for sure, but based on the exact same technology that Avid introduced with DNxHD FOUR YEARS EARLIER….and not really all that much of a game-changer until a couple of years later still when hardware from AJA and camera manufacturers enabled RT encoding.
“

I agree with Andrew on this Tim, you seem to be assuming that FCP 8 could not have been a total rewrite, as Adobe CS6 showed us could be done.

Not wishing to get involved in yet another BS argument here, but as I’ve said before, the so-called paradigm shift of FCPX often bandied about here was, in many ways, but not totally, a solution looking for a problem. (***Though many here still think FCPX keywording and database implication is the only way to fly, all NLE apps have different ways of addressing the same needs, even DaVinci Resolve, the very newest kid on the block.)

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]

[andy lewis] “It’s absolutely true that 4:2:2 Prores will hold up better than AVCHD over multiple generations but what kind of workflow necessitates multiple generations? If you are working within Adobe apps that should never be an issue.”

Andy, if you’re not thinking about generation loss you really should be, cuz any finished master you create will in all likelihood wind up being reedited or repurposed at some point later in history, and history lasts a long, long time, as in perpetuity. Of course, if you have archived versions of the entire finished project, and assuming the project file and all media are intact and readable at that later date, whenever it might be (which is ALWAYS questionable), you could POTENTIALLY avoid generation loss. However, I’d hate to think that you and other Cow members are ignoring the long-term future of your completed video assets, which are all hard-won and very labor-intensive efforts.

As an example of what I’m referring to, a Cow member once asked me why he should save his ProRes master rather than a much smaller h.264 copy of the same. I asked him if, twenty or thirty years from now when a retrospective of his work is being played at the Academy, in 20K perhaps, would he want it to look like complete dog doo? Would you or your clients?

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]

For anyone here to provide an answer you need to tell us the specs of your computer, keeping in mind laptops require attaching an outboard I/O device, while towers can accommodate an internal I/O card or outboard device.

In any case, you will require a Blackmagic I/O device or card, and the Resolve PDF manual goes into great detail about the required cards/devices.

FYI, the PDF manual is automatically installed when you download and install the Resolve software.

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]

Open CL is for your card Esther – for future reference, Nvidia cards use a similar feature called Cuda.

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]

Ester,

Unlike FCP, which is most likely your frame of reference, the red, yellow, and green lines you’re referring to do not indicate a need to render. Premiere will play virtually anything without rendering.

On the other hand, if you’re experiencing realtime playback performance issues, that’s typically caused by one or more of the following issues:

1) not enough hard drive throughout – in which case you need a RAID of two or more drives stripped together.

2) you don’t have the Adobe Mercury Playback Engine enabled, or you don’t have the proper video card (or drivers) installed in your computer

3) your computer is simply not got the CPU power to playback the video you’re trying to edit

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]

LTO 7 will be front and center at every booth with archival solutions, and it’s well worth a look.

Just so you and all readers here are aware, as with the release of LTO 6 three or four years ago, there is now a huge premium on all LTO 7 hardware now, while manufacturers and distributors attempt to capitalize on the appeal of the new and silmultaneously clear out as much older LTO 6 product as they can. Within a few short months after NAB, you should that premium disappear, and LTO 7 products will start selling for a more reasonable price, much closer to that of what LTO 6 has been selling for in recent times.

The cost of LTO 7 tapes will also drop quite a bit as more hardware is adopted, so buy a few pieces at a time as you need them initially until the price goes down, otherwise you’ll be paying through the nose.

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]

If that’s what you’re making I want at least six times that amount.

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]

There are slide transitions in the effects tab in Premiere and every NLE for that matter.

These can be customized in several ways, including: up-down, rt-left, speed, etc.

I believe you can lasso several images on the timeline and apply a transition between any number of images (or clips) at one time.

So, in theory, in Preferences you could set the duration stills before importing (as in 30-frames per still), import as many as you like and they will all come into your bin at 30-frames each. Then you could chuck as many as you wish onto the timeline, lasso those, and drop on a transition.

There you go, I just saved you days of work… I’ll have my agent send your agent an invoice. 🙂

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.