[Eric Johnson]

Well, reference files tend to hold render files…. so they are generally variable in size.

Also, if you are planning on delivering a reference file to your client, then you are potentially walking into a bad situation.

If that file is moved to a location where the referenced media can’t be found, the file will be unusable.

You need to deliver a self contained file to your client. Unless they are savvy enough to know the restrictions of a reference file, in my experience it is beneficial to assume that the client doesn’t know how to turn their computer on, and you are giving them the drives that all of the work was done on and those drives contain all of the render files.

It is also so cheap to store a 20-30GB file, that there is no excuse for trying to save them the space. That said, if the space is so important, deliver something smaller than Pro Res 4444, Pro Res (HQ) is 1/2 the size and there is very little difference in the image quality, unless you need and alpha.

[Eric Johnson]

Well if you’re working @ 1080, then your file is about 10GBs light…. How big are you expecting it to be? Pro Res 4444 is pretty dang big…. take a look:

https://www.digitalrebellion.com/webapps/video_calc.html?format=prores_4444_1080&frame_rate=f29.97&length=10&length_type=minutes

[Eric Johnson]

It looks like clipping to me…. which in FCP you generally will not see until you render…. Check you scopes and see if anything is above 110. You may also increase your head room by turning “Super-White” on.

[Eric Johnson]

You could just copy the quicktime components from the computer with FCP on it to the mac Mini….

[Eric Johnson]

It looks like the highlights are clipping…. I know you said they were 99%, but when I’m correcting and have the data set to “Unscaled” if I push the gain to hard it clips exactly like that: flat magenta yuck….

[Eric Johnson]

Where is it that you are “advised” not to install the JL Cooper software?

I only ask, because my Davinci also doubles as an FCP Online bay and it would be convenient if I could use the board for both.

Also, I’m pretty sure that the Davinci config doc tells you to follow the manufacturers installation instructions, which I believe instruct you to install the JL Cooper software…. Can’t remember…

Sorry to be devil’s advocate, but I have found almost no information as far as the installation/integration for the board. And if I hadn’t read you response to this thread, I would have installed the drives first thing and had a very frustrating morning.

All that aside, I had a very productive first day with the new board. It is a very cool piece of hardware and am happy to have it.

[Eric Johnson]

Luckily I had no issues. All went smoothly.

I haven’t installed the JL Cooper Ethernet Software yet, was hoping to be able to control FCP with it also.

Is there a way to change the Luma Ring sensitivity? Right now it has to spin quite a bit just to adjust a tiny amount….

[Eric Johnson]

I had a chance to use the Wave not to long ago…… I couldn’t really hang with how loud it was and how shallow the integration is. Especially for the cost.

I’ve been looking around and though the Cooper board is more, most everything seems to be 1 button press away, where as the Wave has what it has 1-(potentially)10 presses.

I’ve also been looking at the Avid board, and really as far a feature integration is concerned the JL Cooper appears to be the best without spending $30k….

But Like I mentioned, I was pretty sure the USB thing would be a no go, just seemed like it was worth asking.

[Eric Johnson]

Double click.

[Eric Johnson]

I’m not sure what you mean by grouping… at least in Resolve. Or how you would do it, time for a manual adventure…

Also, the workflow/network/timeframe of the show I’m on only allows EDL Preconform, so I’m not sure if I’m even able to regroup. By that I mean I have tried switching my timeline from “A” mode to “C” mode, but to no avail…