[Elan Dassani]

Yep, done all of that too, but Channel blur doesn’t work nearly as well as edge blur, which had multiple controls including adjusting the color of the blur! Made fixing mattes quickly much easier . nukes’s edge blur works the same way and it’s glorious. A major missing piece of After Effects

[Elan Dassani]

My old keying suite license still works! Hurray! But I suspect not for future version pasts AE 2020

[Elan Dassani]

Hi Mark, I’m getting the same problem on our Epic project. Its not terrible, but it shouldn’t be jittering at all with a Rocket Card:

Mac Pro 12-core, 32 GB RAM
OSX 10.6.8
Resolve 8.1
Red Rocket
Cubix
2 Quadro 4000’s
Running off a Facilis SAN, 8 GB Fiber

Latest Rocket Firmware and Drivers

Did you find a solution?

thanks!
Elan Dassani
Master Key Post

[Elan Dassani]

Hey Mike!

Much appreciate the input! We’re using the “Reconform from subfolders” a bit now, but ultimately our bigger issue has less to do with adding new versions, than it does with the initial VFX drop-ins. As you well know, we’re dealing with a whole lot of VFX shots, and we can’t wait until they are all in before conforming 🙂 Until we get first versions of those VFX, we still have to reconform, then color-trace when large batches of effects come in. Not a big deal, just annoying. I know you know all of this, its more for everyone else to know.

The only real solution, as you say, is to actually be able to copy from one track to another, conform into a different track, etc. and quickly switch from one track to another in the “Color” module, in order to look at various versions. Hopefully soon Davinci!!

And I certainly do have your number, I appreciate it! I’m definitely looking forward to seeing what Davinci comes up down the line.

[Elan Dassani]

hey bryson,

This is Elan here (how’s it going :)?) from over at Master Key Post.

So with P2 files, I’ve installed the Calibrated MXF plugin (works great). Once we’ve installed CatDV with the MXF option, I’m just going to import each of my SAN drives, and hopefully it will all work swimmingly with the P2 files. The demo works great so far with any other kind of file. Hopefully this will also solve my black hole of media problem too . . .

hope all is well,
Elan

[Elan Dassani]

I;ve gotten the Resolve Database Server working on a Macintosh. Its a bit of a pain in the ass to set up, but now that its operational its a thing of beauty. I;ve got 2 Mac Resolves sharing one database.

I’ll post how to do it in a day or two.

_______
Elan Dassani
Master Key Post
mkvfx.com

[Elan Dassani]

a typical episode of the tv shows we work on have 4 to 6 TB per episode of master media. Therefore we have to create a single volume per episode to make it work.

In order to store all of the visual effects shots, pickups, etc, some episodes have to be split between volumes to store all of their media, which is kind of annoying. A 2 hour feature film shot on RED would have to have its media probably split between 3 to 4 volumes. Again, not a big deal, but it would be nice to store it all on one volume for organizational purposes.

Thats not that big a deal, it just get a bit annoying long term. It is possible we can’t use larger volumes than 8 tb at the pricepoint of Facilis/Editshare/EVO, etc, we were just trying to get some guidance going forward, as I’ve gotten a lot of differing opinions from a lot of different people.

All of the posts on this forum, however, have been very informative.

[Elan Dassani]

Called Facilis yesterday, they do not technically support volumes larger than 8 TB.

The software will let us create one, but we get Read/Write speeds below 200 MB/s on that volume, insufficient for uncompressed workflows.

[Elan Dassani]

Davinci Resolve on Mac OSX
Avid Symphony on Mac OSX

both purchased in the last 3 months.

[Elan Dassani]

Hi Andy,

Yes, I know about that, I can transcode it via MPEG Streamclip, Symphony, After Effects, Compressor, the Resolve itself, or a variety of other methods. I’m just dealing with outputting 2, 45 minute episodes per week, each of which tops out at 4 TB or raw media, about 800 GB of which is 5D footage (the rest is RED, Gopro, and P2 footage).

The Resolve is great, it just makes it annoying and time prohibitive to have to transcode all of that footage, or even just the clips we’re using, when I know the Resolve can work with the stuff fine if I didn’t have 2 GPU’s operating at the same time (thats the problem according to Davinci).