Forum Replies Created

Page 153 of 170
  • Glenn Sakatch

    October 13, 2012 at 4:10 pm in reply to: OT. Installing Resolve 9 with a Kona 3 card

    Not quite the same, but I have a Windows box running Avid DS, using a Kona 3. Resolve Light is running on it as well. Only issue was i had to upgrade the cuda driver for Resolve to work. Didn’t seem to affect DS at all.

    Glenn

  • Glenn Sakatch

    October 12, 2012 at 2:10 pm in reply to: Can resolve import AAF

    Actually the manual doesn’t say anything about supporting media embedded in the AAF. It tells you to pick a location for the media, or have it stored in the same location as the AAF. (this is not the same as embedding it in the AAF) Once in Resolve you will need to point the conform tool and or media pool to the folder that your media is in.

    Glenn

  • Glenn Sakatch

    October 7, 2012 at 7:37 pm in reply to: anybody using BM Intensity PRO card with AVID?

    sorry, closest i can say is i’m using an extreme 3d card with Avid. No issues.

    Glenn

  • Glenn Sakatch

    October 6, 2012 at 4:14 pm in reply to: V3 not visible

    That is probably your problem. When you move tracks around on Avid, they retain their original layer
    hierarchy. Weird but true.

    If you create 6 tracks and then delete number 4…then create a new track, it will simply recreate a V4 for you .

    Glenn

  • Glenn Sakatch

    October 5, 2012 at 6:53 pm in reply to: V3 not visible

    First thought…is it called V3 because you reordered V2 and V3 and then renamed it to V3 because it is now on the top? (or is actually the 3rd track that was created?)

    Second thought- a screen grab of the situation might help.

    Glenn

  • Glenn Sakatch

    September 26, 2012 at 1:56 pm in reply to: How would this work

    Without a proper sharing system (Unity) you will have problems. Its not just about allowing the other boxes to see the media. They need to have the bandwidth to work with the media. (Low res might play ok, but full hd is going to be tough on a normal network) But beyond any speed issues you have, is the actual sharing of the project and the data base for the media. You would have to be very organized in who is working on a project, as you can’t have two people using the same project at the same time, unless you use a proper system. (unity) Also, you would have difficulty “sharing” the media, as everytime one person rights a render to the media drive, everyone else’ database will have to update. Tough to edit when your data base is always updating because someone did something.

    We actually tried this a couple of years ago. Had a fibre connection to two shared drive arrays, and two avids trying to use them. Who ever launched first, got control of the project. As soon as the other guy tried to jump in the crashing started. What we ended up doing was giving write access to 1 array each, and read access to the other array each. We also had to copy the project to both boxes, and stay very organized as to what bins we modified. In the end, it was not worth the headache, and we just stayed separated.

    Glenn

  • Glenn Sakatch

    September 14, 2012 at 5:06 pm in reply to: What’s the Workflow

    As Michael said, you should be able to simply archive the R3d’s. If you have to go back to your cut sequence for changes you can always AMA the r3ds, relink your sequence to the ama clips instead of the original transcodes, and do any changes using the r3d links, or at that point only transcode the clips needed for the sequence.

    We try to avoid keeping raw transcodes if possible. We back up the camera originals, and then charge the client for a restore fee in the future if we have to come back and redo everything. If its a job that we know will be using this footage off and on for several versions and revisions we will keep the transcodes.

    Glenn

  • Glenn Sakatch

    September 11, 2012 at 1:51 pm in reply to: Grouping Tapeless DF and NDF

    Not sure why you care. Are you trying to lay them to tape before re-ingesting and then editing?

    As long as you timeline is set to the correct type (DF or NDF depending on your delivery requirements)
    you are fine to mix and match sources that you use in the sequence. Why bother grouping them…they are just sources.

    Glenn

  • Glenn Sakatch

    September 3, 2012 at 4:06 pm in reply to: Monitoring a 2K Sequence via Delink to a 1080p Monitor

    silly question…can your monitor handle 2k?

    Glenn

  • Glenn Sakatch

    September 3, 2012 at 4:04 pm in reply to: Panasonic tape deck to black magic for sd capture

    you say you have audio but no video…is it no video (black), or a green screen video, or static/noise video?

    Try some basic trouble shooting.

    Unhook all HD outputs from the deck, run your SD SDI line to a monitor (typically super out is good as it should at least show your timecode window when you turn on the characters)…do you have a picture?

    My guess is your deck is not set for a proper down convert. What is your source frame rate? What is your SD output set to in your deck? If you are playing back 23.98 sources, you should double check that you have a pull down output setup for your sd output.

    Also guys around here can probably help more if you provide your deck model as well.

    Glenn

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