[Eugene Lehnert]

Hmmm… I finally got all my files converted but I had to constantly restart Resolve and work on the shots that crashed. I could run Resolve for a few shots then it would give me the error. I am using Resolve 9.01 Lite on 10.7.4 with a Nvidia GTX 570.

[Eugene Lehnert]

Thanks for all the help. It seems Rec709 is the best way to go right now.

[Eugene Lehnert]

Thanks for the information. I’ve been living in a Rec709 world for a long time and am just getting my feet wet in the big wide world of large gamuts. The Resolve is an affordable color corrector but it still requires a large investment to work with these higher end workflows still it seems.

So even though the Dolby monitor can show the P3 color space it is not recommended to grade on since nobody would see it on that type of device?

From what I understand going from XYZ from P3 is not much of a change since XYZ is the visible part of the P3 Color Gamut? So a 3D LUT may be all you need for a conversion to a DCP? Then if you do a Rec709 version of the film you need to do a color pass on the movie since a 3D LUT may not be enough to convert the color spaces?

[Eugene Lehnert]

Obviously the 444 codec captures is 4:4:4. So what’s the best way to convert this material to RGB DPX you think?

[Eugene Lehnert]

I was doing some reading. Is it true that the Arri only records the ProRes 444 files as YCbCr? Is it 444 YCbCr or 422? If it was only 422 I could go to HDCAMSR 422 and I’d only have to deal with a 2.1 compression ratio and then after that we work in 444 RGB and finish that way?

[Eugene Lehnert]

So if I am using a 23.976 NTSC setting in the Avid I am in a 720×486 timeline? How does the Avid handle the difference in frame sizes? Just it merely pad the DV footage adding black to the top and bottom of the frames?

Is re-capturing the footage the best way to work with my DV files?

[Eugene Lehnert]

It does seem kind of crazy to abandon the pro market when they have something like this now:

https://store.apple.com/us/product/H5187VC/A/Thunderbolt?fnode=MTY1NDA0Nw&mco=MjMwMzE0OTI

You can edit uncompressed 2K on your laptop. And FCP X is 64-bit. It’s such overkill for the prosumer market.

I wish they just called this thing Final Cut X Express.

[Eugene Lehnert]

But why did they release this version without basics everyday needs like XML, EDL, OMF and tape control support? Why didn’t they just call this Final Cut X Express and tell us Final Cut Pro X is coming?

[Eugene Lehnert]

I’d totally start learning Avid. I am. I started learning on an Avid in the beginning but went to FCP because I could have it at home. There weren’t many jobs for FCP editors back then though and I had a tough time finding work at first. Now 12 years later I feel I have to backstep a bit. Ultimately this will be good for us even though it’s painful. Apple may actually upgrade FCP X to be used in a professional environment but facilities may choose to go with Avid instead of FCP because they don’t trust Apple. So you may find that new jobs are going to be asking for Avid editors more and more. Then maybe in a few years FCP X will be able to be used professionally.

[Eugene Lehnert]

Yeah Resolve on Linux is super expensive but the question is why? Why can’t they make it as affordable as the Mac version?