[Glenn Sakatch]

You can usually install two different versions on a mac, but you will have to have separate databases.
Windows I don’t think there is any way to do it, without a dual boot. (or virtual hard drive)

Glenn

[Glenn Sakatch]

I read the newest readme looking specifically for comments on captioning. They mix the terms captioning and subtitles pretty liberally when discussing their workflow. Finally at the end it does say the you can encode captions to cea 608 only into mxf and quicktime formats, but it also specifically says that 708 is not yet available.
It also can’t import items like a .scc file. (hopefully that is a yet as well).

Of course with past Blackmagic hardware and software solutions, “yet” could be any amount of time.
If it can ever encode both 608 and 708 from an .scc file, that would be a game changer for me.

Glenn

[Glenn Sakatch]

Typical workflow in a post pipeline is VFX before color. Not that you can’t send color shots to the vfx house, but its not unheard of to send shots for vfx work before color even starts.

Obviously if you are the only one working on it in this scenario, your pipeline becomes less segmented.

But don’t forget, fusion actually has a pretty good set of color tools…add them in a node, do a temp color and bypass it before sending back.

Glenn

[Glenn Sakatch]

When you open your newly imported project, go to the media tab, and look at all the media there. Where does resolve say it “thinks” this media should be living? (It should be the same location that it was when you originally exported it).

Where is this media actually living now?
Select those clips, and do a relink of clips, or change source folder for those clips…there are a couple of different ways of relinking the media in Resolve, but the basic problem is that you have to tell Resolve where the media is.

If you had all your media on G:\ drive in Premiere, and moved the media to D:\, would premiere launch and find the media, or would you have to tell it where it now is?

Glenn

[Glenn Sakatch]

What applications are you trying it in? How fast is the mouse moving. I would guess fusion could make pretty short work of it with a single point tracker.

As with everything, you may need to do some manual tweaking, but the nature of a mouse’s movement should make this pretty simple. Typically there might be a small ramp up and ramp out at the start and end of the movement, but I would think for the most part, the middle section of the mouse going across the screen is pretty linear. (you drag your mouse is fairly straight lines, from point to point, so adjustments should be fairly simple and linear).

Even without tracking I wouldn’t think it would be that tough to do some inbetween keyframes and get pretty close with a purely manual “track”, as long as your keyframe interpretation is set to linear.

If your mouse is moving so fast that it is a complete blur, than obviously some creative decisions might need to be made.

Glenn

[Glenn Sakatch]

Well, the position numbers are going to be based on the center position of your graphic…semi assuming it is perfectly centered on the screen in the original document. If you graphics are all the same height, and all centered on screen, then typing in the same position number should work. If they are not all the same height, or not all centred in the document, then you either have to eyeball it or rebuild your psds, to make the bottom of each graphic be at the center line on the screen, or, put the bottom of the graphic at the bottom of the screen.

In my experience, its just as easy to make a line in the text tool, put that on screen, in the bottom position you want to line up, and then put the graphics on upper video layers, justifying them by eye, to that line. Once the graphics are lined up, delete the line.

Glenn

[Glenn Sakatch]

You might not NEED one…but they do serve a purpose.
First caveat…you work in Premiere. I don’t know how premiere handles I/O…I don’t use Premiere.

If you worked in Avid or Resolve, or I would assume, if you had a broadcast monitor for Premiere, then you would need some sort of I/O device, whether it be a BM device, or a AJA device (excluding Resolve). In the end, these device provide professional output connections for professional equipment…namely SDI connections.

Now some of the ultrastudio devices do provide acceleration as well. the bigger Ultrastudio 4k extreme models will help with some of the heavy lifting in a edit environment, especially in 4k, as well as give you multiple outputs, timecode output, and multiple inputs, if you are capturing off a deck or camera to your system. Audio connections will also multiply greatly in number and type with some of these models.

If I edit on my laptop, I usually just run it naked, but my actual edit suite has never been without some form of I/O device, going back 20 some years. Currently I have both a Kona 3 and a BM 4k intensity pro card in my system. These essentially serve the same purpose that an utrastudio would. They feed my Flanders, my 4k monitor, my audio board, my hyperdeck recorder, and my waveforms….all at the same time, and in sync, with no stutter playback. Sure I have a VDA as well, but still, try doing that with only a built in HDMI out )

So do you NEED one? Clearly you don’t, or your post would start with …”my playback workflow sucks, would this help?” But for many of us, our typical setups would cease to exist without something like these devices.

Glenn

[Glenn Sakatch]

We have all stared at a drop down menu and said “I’m sure it was right here”, or stared right at the correct item, and not been able to read it. That’s usually when I say “time to go home”

Glenn

[Glenn Sakatch]

Join the long list of people who are a bit perplexed at the Resolve way of working with audio.

Glenn

[Glenn Sakatch]

Is the manual you are reading specific to MC first, or is it an MC manual? I’m surprised the subcap effect would be included in First…its a pretty scaled down version. The comparison chart doesn’t specifically list subcap for First, but it doesn’t specifically say it isn’t included. The fact that you can’t find it by a search in the effect palate tells me it isn’t part of the package.

Glenn