[David Roth weiss]

Tom,

The guy you purchased the Mac Pro from was simply incorrect when he advised you that no drivers or software needed to be installed on the computer. The fact is, you need to change/update Nvidia drivers and Cuda drivers almost every time you make any changes to the OS, to the NLE software, and to hardware (especially GPUs). So, it’s no wonder your graphics cards are not recognized, nor is Cuda functionality working.

Unfortunately, I am on the road and unable to guide you further at this time. However, this is common knowledge on this forum, and you should be able to get good advice from many others here. Just make a new and simple post asking for help installing both the drivers for the Nvidia card and Cuda.

BTW, it’s likely that the Quadro 4000 is not supported by Adobe any longer, and that the newer K4000 is required. If that’s the case, then you should buy a new GTX Mac Edition card, and calling OWC is your best bet.

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]

Hey Tom, did you install both the Nvidia Web Drivers and the Cuda drivers? Both are required.

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]

Boris Title 3D came free with FCP and should be your go to title tool. I can’t really vouch for the other one, as I’ve never used it.

Bottom line is, no one here can advise you properly without examining your project. If the guys at your post house can’t advise you on this, you really should think about taking your project to another post house.

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]

David,

There are innumerable downsides to using Marcus’ approach, with the primary being, if any single clip you’ve transcoded doesn’t look as expected on the timeline, or if a batch of transcoded clips don’t look right (very common when winging transcodes from many different file types), you’ll have a bear of a time tracing back to your cam original if you create a single file on output from your timeline.

If you plan to work in this industry you’d best take the time to figure out the proper way to batch transcode each and every file type, and you should test each file type separately to determine what if anything requires different settings, as there is no one size fits all when transcoding different file types to a single mezzanine codec.

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]

It would be impossible to answer your question precisely without knowing what your Sequence Settings are in your FCP project, as that can very easily impact aliasing of your titles if set improperly. If your seq. settings were set properly, your titles created in FCP using Boris Title 3D are created uncompressed, then compressed to the Compressor setting (i.e. ProRes 422), which should be more or less lossless.

The above having being stated, it’s very easy to start the project with the incorrect Seq. Settings, and when you change the Seq. Settings after the editing has begun the settings will not correct. If that did not happen, then you’ll be just fine using the titles you created in FCP.

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]

Duke,

The answer is not as simple as the question you’ve posed… There are two pieces to the puzzle, aesthetic, and technical. On the aesthetic side, you can grade h.264 to look “almost” any way you want, or to look similar to just about anything you see in the movies. However, from a technical standpoint, while the look you create might appear to the viewer/audience to be very similar to the movie you’re trying to emulate, it won’t have the same underlying latitude, color depth, etc., and thus can’t possibly be identical to the movie, or as easy to grade, nor will it hold up generationally as well.

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]

The other day I was walking my dog, when I spotted an eight-year old child in his garage, doing a stand-up pitch to camera in front of a green screen. He setup the lights, the camera, the mic, and was doing the pitch as well, without any help. When I asked what he was pitching, he told me he was pitching his first completed feature film to potential distributors. Does this tell you anything about the state of our industry?

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]

Export a single file from Resolve. This is why color correction/grading have traditionally been done ONLY when picture is locked.

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]

Unless you upgrade your software to the last release of CC 2015 you will have to transcode your 4K footage from the Sony camera, because XAVCi was only optimized for Premiere in the new release, and all previous releases had huge issues playing back XAVCi without dropping frames.

Beyond that, you will need a beefy RAID – whether you’ll need a 4-drive or 8-drive RAID I can’t tell you now, as I have yet to run the numbers using the new release of Premiere CC.

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]

The easiest solution: record the audio playback from your laptop speakers on to your smart phone, then bring that into Premiere.

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.