Francois Driessen
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AE Expressions Coin
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COW Coin
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Yiy! Perfect. Can’t believe I didn’t find it in there before.
Thanks!!Francois
FireTrigger Inc.
https://firetrigger.com -
You’re 100% right this is an Edit/Corform operation. It seems like it should be so simple to just point Resolve to a different file for Source. AE, FCP, PP, Avid, and it seems like everything else can do this – but not Resolve. It can for an individual file basis with no problem – but not if that file is cut into 500 clips each with a local grade + keyframes and tracks on it.
Going back to NLE is not an option. It’s unfortunately Premiere Pro. And XML between PP and Resovle is an absolute bag of hurt. Either way. No need to recut. Just need a single source file to look to a different file on a different location and thus propagate all the work that is applied by Resolve on that new file.
Francois
FireTrigger Inc.
https://firetrigger.com -
Yea. Changing the Source Folder gets you half way there. You still need the name to match the previous clip’s filename exactly. Which is OK, but not as elegant for the long run of project and media management. This is actually the closest, next best thing to what I need to do.
Francois
FireTrigger Inc.
https://firetrigger.com -
Thanks. Good to know. But no scopes open…
Any other ideas out there?Francois
FireTrigger Inc.
https://firetrigger.com -
I ran into PSF with my AJA monitoring system back a few years before it could handle bandwidth of full progressive 1080 higher framerates. PSF is used there to send a progressive signal over an interlaced level bandwidth channel. The Progressive image is broken into 2 halves and then is played back as interlaced – exactly the process you’re following going from 23.98p to 29.97i, excluding the frame duplication of your pulldown, I believe. The catch is that if you play it back you’re actually looking at an re-assembled progressive image – it just comes to the screen in halves. Since the original was not combed to begin with the motion edges are not combed and appears exactly the same as when viewing it in progressive.
(The same is true for my BMD DeckLInk SDI – it has the option to send out 23.98p or 23.98psf – for monitors that couldn’t handle true P over SDI).
I might be wrong, but the bottom line is that if you don’t use Optical Flow or similar process to create new interpolated motion frames between your actual progressive frames, you don’t end up with combed motion edges anyhow. As long as the field order is correct in playback you’re golden.
So back to your question – It’s really something that the panel builders for the TVs can only answer, varied by make and model. They build TVs to sell against others in TV walls of consumer stores. Whatever they can do to make images “pop” on there will ultimately lead to a sale. And there is a lot of dark arts going on in consumer TVs to achieve that…
Francois
FireTrigger Inc.
https://firetrigger.com -
A very valid question and, in my book, unfortunately one that will have as many answers as there are different makes of LCD / Plasma TVs.
I’d suggest you contact a few panel manufacturers to try and get the truth out of them. But in my experience you’re probably looking at a processed de-interlaced process that will not break a PSF image. That way they run the same process blanket for both. But that’s just my guess in what I’ve seen. If you want to be safe I’d say go PSF to 60i signal so you have control. You’re starting P anyhow. Unless you’re using Optical Flow to interpolate frames with your pulldown that actually breaks into combed fields from 24 to 60 you’re PSF already aren’t you?
Francois
FireTrigger Inc.
https://firetrigger.com -
Not too graceful indeed. But it works!
Seeing its a database I can understand how they got to this. But could definitely do with a User Interface finesse here.
Thnx!-F
Francois
FireTrigger Inc.
https://firetrigger.com -
HI, R
I need to update my profile… 🙂 My setup currently for my Resolve suite looks like this:
MacPro 3.1 , 32Gig RAM
MacOs 10.8
Samsung SSD for system
Quadro4000 GUI
GTX 680 Cuda
CalDigit Raid 4x eSATA
BM DeckLink SDIThere is only 2x 6pin cables to power both cards. But the power-source for the Mac Pro has plenty of juice to handle it. So the solution I came up with is to put one cable in either card, and then to get an additional SATApower to 6pin adapter cable that goes into one (or two) of the empty drive bays to add additional power to the GTX680. I ran a monitoring app to make sure I’m not hitting the power source too hard but it did not even get close even with heavy nodes. NOTE: (* ADD disclaimer here: Should you decide to the same it’s completely at your own discretion… I’m not advocating you should follow my lead blindly. )
Francois
FireTrigger Inc.
https://firetrigger.com -
Yep. See above.
What that symbol means is that you have more than one clip linking to the same source media file. So by using remote grades you’ll be changing all instances of that same clip by changing any of them (instances of the same clip).Francois
FireTrigger Inc.
https://firetrigger.com -
Mavericks caused a huge chunk of pain here too. I dialled back to 10.8 on all of the machines.
Apple went funky with the FCPX upgrade to be Mavericks only. I’m OK with that if Mavericks was solid. But its not for my MacPro 2.1, 3.1 and 5.1 at all…Francois
FireTrigger Inc.
https://firetrigger.com