[Eric Johnson]

Dan, you are to fast.

[Eric Johnson]

Are you using the “memory” slots or Versions?

With Versions, I find that Local versions work the best for this kind of thing… as opposed to the default remote versions.

Also, unless I remember falsely, Memories/Still Store don’t retain tracking data or keyframes…

I apologize if I’m answering the wrong question.

[Eric Johnson]

Are getting correct playback? I recently started a similarly formatted show, and couldn’t get the the playback to be correct in Resolve (jittery/steped playback, overcranked playback, Chase was under clocked… it was kinda wonky)… So I broke out the 1080i/p material from the 720, and will be working in multiple projects… Not my preference by far, but it let me start working the fastest…

Very interested to see the suggestions you get.

[Eric Johnson]

This is pretty cool!

But I was wondering, based on the illustration on this page: https://www.digital-intermediate.co.uk/examples/3strip/technicolor.htm

Would the values actually be 1/3, 1/3, 1/3? Or would more than a 1/3 make it to the Green strip and the remainder be split across the Red and Blue, with a slight offset towards the Blue since the light hits it before the Red?

Rational is based on what I’ve heard from people on 3D shows, the beam splitter tends to create a slightly darker frame for one eye, and sometimes the prism also introduces a slight color shift… not sure if thats true for all 3D systems, but seems to be for some… So would that not hold true for a prism 75-80 yrs ago?

And if the Parallel node isn’t the right way to bring it all together… what about a Layer node with a Composite mode?

Just thoughts that came to mind while reading the tutorial and responses to it. Really cool process, gonna give it a whirl next chance I get.

[Eric Johnson]

Pretty sure you can set it to reference, frames instead of TC… If I remember correctly, it should be in the same place where you set the Reel interpretation. I’ve never used it though, so I have no idea if it will work.

Worth noting, Resolve looks at Reels first, then TC. So you will need to add some Reel information to your clips in FCP before going to Resolve… since there is no TC, all clips will need unique Reel numbers.

[Eric Johnson]

I’m fairly certain you can change the IDT on a clip by clip basis, since ACES introduction, should be an option when right-clicking a clip in the timeline. The Color timeline as opposed to the Conform timeline.

[Eric Johnson]

I would GUESS, that Resolve doesn’t like the chinese characters….

You could do a mixdown of your video and preconform with an EDL.

The couple times I’ve done this from avid i had to add a TC offset, but otherwise works nicely.

[Eric Johnson]

Yes to the “center range to first click” notion…

[Eric Johnson]

I have definitely found that RED productions require RED users… Most operators/DPs that I’ve talked to, and some that I haven’t but have seen enough of their work to make some guesses, have made it clear that cameras like the Alexa, VariCam (tape or tapeless) or F3 (XD Cam issues aside) can pretty much be picked up and better than acceptable results achieved by someone who knows how to shoot but may not be familiar with the camera.

RED on the other hand, to get better than acceptable results, the operator/DP needs to be a RED operator/DP. Otherwise acceptable is the best you are likely to get…

And I would argue that the same must be said for the Finish, that would be based on my experience… I like it, but it is a pain to work with.

By saying that I don’t mean to say that RED is a bad camera or ecosystem, it just requires more experience and time than other formats.

[Eric Johnson]

Though disheartening, it’s good to hear that the the C300 footage I just went through wasn’t irregularly bad… just regular bad… oh… That said, it did look better than the 7D it was intercut with.