Eddie Kesler
Forum Replies Created
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So…the DaVinci colorist said he wasn’t able to import ANY of the files I gave him that Final Cut spit out. Even the Phantom footage selects that open fine in QT. I forgot to mention that all the files have “-v” at the end of the titles. Not sure why.
I can give him the complete source files like I did before, but the difference is 66GB of footage to find and move as opposed to 4GB and a helluva lot easier to compact together instead of manually locating all the files of the different takes.
Media Manager should work for this. Any suggestions are appreciated.
Thanks,
Eddie -
I didn’t use an Alexa XML to import. The footage was given to me as “dailies” on 4 separate drives from each day of the shoot. They had an editor on set who was synching the video ProRes output with the WAV files. That was a mess. There’s random drifting that happened upon synching using timecode. We found out that there’s a problem with the camera – firmware update or something like that. So everything had to be synched by eye and ear the old school way. Regardless, that’s all another story.
So, I compiled all the merged footage per series in Final Cut Pro. No XMLs. Just bins, etc..
Plenty of space on the hard drive. So, that’s not the problem.
I was able to pull up the QT select outputs that Final Cut tried to export by manually dragging them into QT. I can save them as a self-contained MOV and everything seems to be ok. It’s just a pain in the ass to have to open every single clip and re-save them. I’m waiting on the DaVinci operator to break from session to see if he can directly open the outputs from FCP without the wrapper, but it still is a problem and shouldn’t be giving me errors on export. Not sure if it’s Alexa’s fault or FCP.
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Yes, when it starts up. I can’t switch back the monitors at the moment to see if that’s the problem. Strange timing.
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Maybe nothing, but I switched out monitors and it now won’t recognize the Kona 3. I can’t figure out why.
Any ideas?
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Hi, Dave. I noticed that this post is a year old, but I’m doing nearly what is described at the moment and I just installed a Kona 3 card for this job (usually use the io HD). If my timeline is 23.98 and I’ve used about 1/2 23.98 RED footage and the other have is 29.97 loaded from HDCAMs (transferred from 16mm film).
So, if I finish my edit in 23.98 (with added keyed backgrounds in After Effects) and output to HDCAM at 29.97 using the Kona 3 conversion, will the 29.97 footage that is already existing in the edit translate properly to the HDCAM master?
Thanks,
Eddie -
Thanks, Bob, but I don’t totally follow you. Can you elaborate? Why an A/D converter?
I don’t necessarily want to render the ioHD useless. It’s working fine for offline ProRes editing. I would probably put it on another MacPro for that purpose, I just wanted to know if the Kona 3 can replace the ioHD for both ProRes and uncompressed editing/compositing or does it have to be one or the other?
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[Joseph Owens] “”DaVinci is not proprietary anyway.”
But up to this point, it sure has been.”
Thank you. “Up to this point”. I’m sure many are scared that a seriously less expensive option is now viable and you think that it puts it in the hands of amateurs. Well, I’m a facility owner and I have a place where the work is based on talent and results and as long as the tools back it up and perform as they should, our clients are happy. We are professionals here and that is what brings in business. It was inevitable that desktop options were going to soon be available for color and wreak some havoc amongst the current business models. I still have an $85K “proprietary-like” Avid sitting in one of our suites that is nearly useless now. We’ve done more high-end work on laptops than that system as of late. But at that time, it did what it needed to do. We also are rarely getting film in anymore the past year and a half. I’d say over 80% RED, Phantom and similar–for big budget, national spots. It sucks that our $35K digibeta decks don’t get used very much anymore, but it’s nice to have things passed via files, disks and uploads, which are much cheaper and don’t require expensive maintenance.
[Joseph Owens] “So we would gather that you are not a colorist at all, then.”
Depends on how you look at it, Joseph. I was a still-photo retoucher 16 years ago. Remember the Shima, possibly?? That big $1 million dollar retouching system?? I used to work on that until fast desktop machines and Photoshop rendered that useless. I also was a type-setter. Know anything about what happened in type-setting back then? (Uh…Mac?) So, Photoshop and Mac bled me into broadcast design and then into editing for the past 14 years. We now generate an average of $150K-$200K a year for colorists around the country and I have supervised hundreds of hours of color transfer sessions. Why would I not be excited at the prospect of having a pro color system here and keep the revenue for us and a talented colorist who’s also excited about a new way of doing things? So, to answer your question, I’m not a colorist, I’m a business owner.
Also, why on earth are you questioning my credibility? And grammar?? My original post was about equipment-specific and very viable questions.
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Of course they might allow AJA to play along. They’ve already said that it might. DaVinci is not proprietary anyway. It’s like anything else in post-production that’s made up of a bunch of parts. Resolve is software and a control board. If I’m willing to spend $31,000+ on that alone, why couldn’t I run it on $2500 AJA hardware that I already own?
I’m sure that they will prefer it to run on BMD hardware and, if we purchase it, we will eventually probably install a BMD card and I hope that we are booked solid for CC eventually. But. if I can have our last open suite run for both FX/editing in the interim and also in the open slots during our ramp-up period, perform high-end color correction, that would be great–hence my original question. If things work out in the long run, we might even upgrade to the Linux option, if necessary.
By the way, I’m not a “wanna be” colorist. We have a professional colorist who’s worked all over the world interested in joining us for this venture. We generate a lot of work for colorists here at our facility.
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