[Eric Johnson]

What I have heard, from someone who works with the Cineform codec often, is that most “finishing” platforms need the Cineform metadata baked in, so unless you are only working with the cineform toolset you will need to export to something else, or possibly the same format w/ the WB turned off and your debayer set.

That way everything is in the file and not floating around…

This is hearsay, as I said, but I personally trust the source… not that that has to mean anything to you.

[Eric Johnson]

Fixed the problem… i forgot the Eclipse ethernet software was installed, did some avid testing and totally forgot about it. Ran the uninstaller and all is fixed.

Definately a “doh” moment.

[Eric Johnson]

Has anyone encountered this issue on 9.0.3 and 10.7.4 (if it’s not .4 it’s the version directly before 10.7.5)?

I tried a bunch of stuff this afternoon and can’t get a connection…

[Eric Johnson]

If the iMac experience was as good as the Mac Pro experience in Resolve, do you think anyone would spend the difference? The system is only as strong it’s weakest link. Compare the iMac GFX card to the nVidia 5770, base Mac Pro GFX card and your question will be answered (that card by the way, is not even close to recommended for use as a GUI/GPU card). Not all systems are created equal. I could, if I were so inclined, run FCP 7 on a minimum spec machine and it would “run”, but it would not compare to an FCP 7 bay set up as an Online/Finishing machine.

[Eric Johnson]

Akim:

Why didn’t you repost this?
“I have:
IMac Resolution 2560 x 1440,
OS X 10.8.2,
2.82 GHz Intel Core i7,
HD solid state 250GB,
HD 1TB,
16GB 1333 MHz,
ATI Radeon HD 5750,
Resolve 9.0.3 with USB dongle,
and I run it mostly with 720P 25 footage.”

From a post of yours regarding a node graph issue.

To which I responded:
“Also, though you do have a newer system, it still only has the one gfx card so GUI and GPU task are being done by the same card simultaneously, that would account for the lag and seemingly unresponsiveness of the software.”

Don’t ask for help if you’re not going to listen. If your specs have changed since the above post, great. But with out actual information, there is nothing that anyone can do to help, and no one will help you if you post like this. It’s just rude and impolite.

[Eric Johnson]

Maybe I don’t know, and that’s cool, but as I understand it, the 2641 is a “wide gamut” display… and rec709, is again as I understand, a much narrower gamut than say P3/DCI/XYZ… So if you turn off the mechanism that controls the color space, you are going to get a “wider gamut” report.

And though I don’t have the spaces committed to memory your non CMS report looks very close to the P3/DCI/XYZ spaces.

So to me, the comparison of the CMS on/off is a moot argument. Because you’re arguing clamped vs unclamped.

It is also worth mentioning, there are a bunch of people on this forum that use FSi for Rec709 work, and I have not heard any similar complaints. I would mention some names, but I don’t want to drag anyone into this.

And it seems to me, that you are discarding answers that don’t align with your findings, which if that’s what you want to do that’s great. But after reading through the entire thread, it seems to me that FSi has gone to great length to answer your questions, though maybe not the answers you want.

[Eric Johnson]

When I was finishing FCP > Color > FCP i always baked down the speed changes, so it became habit and do the same in Resolve. There are arguments for and against, but there are no sunrises in Resolve or when you get back…

I would venture to guess that even with the more robust XML in FCPx that the same is true…

And on the plus side, you can bake in the the optical flow you are using

[Eric Johnson]

Jumping to timecode should be a given in the GUI, on the conform and the color pages, as well as on all the panels. I have the JL Cooper, and it’s great that I can jump by shot #, if you’re working with someone who knows shot counts, but my clients never do.

That is probably my largest concern… but I do love the product.

[Eric Johnson]

I would wager that your hard crash from PAL to 4k is due to the fact that your system is in no way spec’d to deal with 4k material. At least that is based on my understanding of the system requirements laid out by BMD in the Configuration guide for 4k grading on a mac.

Also, though you do have a newer system, it still only has the one gfx card so GUI and GPU task are being done by the same card simultaneously, that would account for the lag and seemingly unresponsiveness of the software.

[Eric Johnson]

I’ve had issues with DaVinci in mixed DF/NDF timelines that sound similar to that.

Is it asking for a TC that is potentially not even temporally available in the media? If so, I bet that’s the case.

It appears to redo the math (from 00:00:00:00 or 00;00;00;00) to determine the TC when you bring NDF into DF and vice-versa. Or, that’s what it looks like to me.