[Glenn Sakatch]

Build your timeline in Premiere at your cameras native resolution…save the project.
Open Encore and “import as timeline” Work your way to your premiere project and select it. If there is more than 1 timeline in the project it will as which one you want to bring in.

In Encore change your transcode settings to highest possible BluRay.

From here i would still build a BluRay Image. (don’t go straight to disc) Better chance of failure in my experience going straight to disc…plus easier to do multiple copies if you have an image ready to go.

After the image is done, tell encore to build disc, and point it to your image as its source.

There will always be compression in the world of digital video. Your camera is recording compressed video, the H264 is compressed by its nature…pretty tough to avoid, but can be minimized.

Glenn

[Glenn Sakatch]

If you only have two cameras, why not just take your big timeline of camera 1, add camera 2 to a second track on that timeline. Now you have two cameras synced. I’m guessing you want to do a multicam, but for a simple two camera shoot, multicam might not be that necessary. Duplicate the sequence so you have a master copy, and simply play down the timeline, stopping and lifting out sections of track two as you go. This will cut from track 1 to 2 in your final edit, and allow you to get cutting quicker. Collapse everything down to 1 track when you are done, and move on to the next project.

Glenn

[Glenn Sakatch]

Found it, thanks.

Glenn

[Glenn Sakatch]

Also the color correct or in symphony has some differences. The project will open, but there may be some subtle differences in some time line effects. If you use symphony to open media composer, you would see no differences…with the exception of any plugins that were used of course.

Glenn

[Glenn Sakatch]

FXPHD and TaoofColor are downloadable movies. Burn them to disc and keep them handy.

Glenn

[Glenn Sakatch]

I need some clarity on the proxy system…I’m sure i asked this question a while ago, but I can’t find it or the answer. I did find the following response from another question about the proxy manager.

Perhaps i’m misunderstanding what the proxy manager is/does vs creating real time proxy’s?

Here is the response from a while ago about the Proxy manager.

Re: cannot load clips into proxy window
by Dwaine Maggart on Nov 29, 2010 at 6:46:20 pm

Your question mirrors one that was just responded to on the davincihelp mail list. Here is the answer that was provided there:

The proxy manager is supported for file based formats, like DPX, CIN, etc. It’s not supported for clip formats like Red, Quicktime, etc.

Dwaine Maggart
Blackmagic Design DaVinci Support

Glenn

[Glenn Sakatch]

I think the proxys are only available if you are working from a file sequence based source. (DPX) I don’t think they are created if you are working with RED or quicktimes.

Glenn

[Glenn Sakatch]

I did a multicam edit on MC6 last week and it was rock solid.

Mac pro 4,1 – 8 core, 24 gigs ram. and an Nvidia 4800. I ran it in both 32 and 64 bit mode. 32 was good, 64 was impressive with all that ram. It was so good i decided to spend the 30 bucks and put Lion on. No issues at all, except yes i had to run the cuda update package, it installed a 64 bit driver (?.50???) Not sure the initial number but i know the .50 part is correct. I did have to find a driver for my Esata card, and re-install Resolve after the Cuda update, but everything seems to be working great.

Glenn

[Glenn Sakatch]

If you take a look at all the Final cut people who are trying to learn Avid, I think you will have an answer to your question about Final Cut X. It is leaning towards the consumer market, not to Pro market.

Glenn

[Glenn Sakatch]

i just cut a sequence in 6.0 and opened it in another suite running 5.5. (not using any ama) Only thing that disappeared were my “tabs” as they of course aren ‘t supported til 6.0. Everything else came in fine.

Glenn