[Francois Driessen]

Ugh. Yes. I year you.

I believe you can get perpetual licenses for upgrades…?

But I’m with you. It took a lot of patience and humility to be forced through the conversion to the Maxon infrastructure. Not the type of thing any company should be expecting from a customer…

Once I added all my licenses into the Maxon system I can download legacy installers.

Also, special pricing as a loyal customer was a joke. But once I admitted my fate, I went back and accepted the discount offered to the full annual subscription. If you don’t need the full kit INCLUDING C4D you’re hosed. But if that is part of the equation of what you’d be spending money on anyway it comes out reasonable.

I guess the idea that you own anything is crumbling. We all just rent. I sure don’t like it at all from the customer pov.

[Francois Driessen]

I’m using the latest version.

But unfortunately I have to load AE through Rosetta – since I’m using Optical Flares from VCP which is not M1 native yet.

[Francois Driessen]

Just a FYI if anyone else runs into the same question.

Solved: The list of groups DO show up when viewing them from the Right Click context menu. – Even if the previous timeline is not selected. So by the looks of it:
Clip Groups are Project wide. Not just Timeline wide.

So that solves it.

Francois

FireTrigger Inc.
https://firetrigger.com

[Francois Driessen]

Interesting… I was wondering what the logic is for how Resolve just grabs any random file if it can’t find the one called for by the EDL – seems to be the first one it can get with sufficient timecode. So if you’re placing media in a bin that also contains the EDL / XML that will become the “random” default file Resolve grabs to connect the clip to?

Francois

FireTrigger Inc.
https://firetrigger.com

[Francois Driessen]

OK – Think I figured it out.

NOTE: You cannot paste the grade info for Raw decoding from a still to the multiple clips selected. You have to paste it directly from a clip on the timeline. Raw decode settings seems to not be recorded in grabbing a Still.

Francois

FireTrigger Inc.
https://firetrigger.com

[Francois Driessen]

Hi, R
I’ve tried to apply it as described with no luck. It defaults back the Project settings for handling raw. I need to use BMC Film colour space and that is not selectable from project settings as far as I can tell. Have you tested it with any other section than Decode Using Project ?

Any other advice out there?
-F

Francois

FireTrigger Inc.
https://firetrigger.com

[Francois Driessen]

Are you still on Resolve10 (when this post was originally made) or is the same issue still unaddressed in V12?

Francois

FireTrigger Inc.
https://firetrigger.com

[Francois Driessen]

Thanks, N

Would you say the conversion is accurate enough to see this as a solid workflow? Meaning, grade and monitor in Rec709 and run EasyDCP on output.

Or is it an absolute must to be grading in DCI-P3 with a DCI-P3 capable monitor?

I guess the question really is: will it make a noticeable difference for your final DCP going with one workflow vs the other?

Francois

FireTrigger Inc.
https://firetrigger.com

[Francois Driessen]

I’m surprised no-one replied to your question yet.
I have the exact same question – did you get a good solution yet?

An indie approach would be to just create the DCP with Resolve from your Rec709 grade and trust its math on the conversion… And then book a local theatre at an off-time to do spot checks for key scenes on the DCP for peace of mind.

Any other ideas out there?

Francois

FireTrigger Inc.
https://firetrigger.com

[Francois Driessen]

Hi, P.
Tried that already. Don’t know what you’re seeing but even with Clips on or off there’s no appearance of the Lightbox button for me. Are you running dual screen mode?

Switching to Single Screen mode the Lightbox button is there. Fine and dandy as it should be. But it’s nowhere to be found on Dual Screen layout. I can still engage it via shortcut. But there is no UI button.

Francois

FireTrigger Inc.
https://firetrigger.com