Glenn Sakatch
46
Avid Coins
85
COW Coins
36
DaVinci Coins
4
Premiere Pro Coins
2
Solve Coins
Forum Replies Created
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even more specifically. Right click on your source monitor and select load filler.
Glenn
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if we are considering or assuming the DPX are the camera originals, and the Prores are the “proxys”…yes i know these are extremely high quality proxies…perhaps a renaming program can help you out?
Also, do you really need to go back to DPX in resolve? the proRes 4444 should give you a pretty good online product?
What is your final delivery?Conversly, you might be able to bring the dpx into Avid and transcode to 36 there. I’ve never done it with DPX, but might be worth a try. Not sure if the round trip back to Resolve would be screwed up by the file sequence vs a single mxf 36 file.
or you could try the same transcode in Resolve
Glenn
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That is kind of a “what color is the sky” question.
If you are more proficient in Premiere Pro, or Avid or fcpX, (if that is where your experience lies) then it will probably be “better”.
These programs are not faster at editing then each other. They each have their strengths and weaknesses. The editor has to bring his techniques and knowledge to the table to make it “faster” or “better”.
If you are coloring in Resolve, is it more efficient to edit in Resolve? Not necessarily. If you are more comfortable in a different program, then the time you lose in doing a round trip technique will be greatly offset by your lack of knowledge in Resolve as an editor.
I cut in Avid, and have done so since 1995. I can get a round trip into Resolve very quickly. Depending on the type of footage, and the size of the show, it could take me as little as 5 mins. I’ve done it a lot, and i don’t have to say to myself “how do i do this”, so it is very efficient for me. I know Avid inside and out. I can troubleshoot and media manage on the fly. I have my personal techniques and workflows that work for me, and allow me to be good and fast.
I’ve only taken a brief look at Resolve as an editor. For me to suddenly switch, would cost me and my clients much more than 5 mins or half an hour or at worse an hour I might lose to do a round trip.
I intend to try Resolve on a project one of these days, but when the client is footing the bill, it is a tougher sell for both them and me.
Back to your original question, if you are more comfortable in Premiere, than cut in Premiere. Test your workflow to and from Resolve before you go too far down the hole, to make sure your media is working properly within both programs, and your lists are talking to each other.
Glenn
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I think he is referring to the differences in brightness/contrast between the two images.
Julian, as has been posted here hundreds of times, you cannot trust quicktime player, being viewed on a computer screen as your final output. You can’t trust the resolve viewer either, but it is probably closer.
If you want to trust what you are seeing you need to get a good, accurate, reference monitor and an IO box that can feed it.
Every computer monitor and TV set that views your image will display it differently. It is up to you to make sure it started in a controlled and calibrated environment, so when someone tells you the blacks are crushed, or the colors are over saturated, or washed out, you can in total confidence say “your monitor is not setup correctly” (or “quit looking at it in quicktime” :))
Glenn
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It seems to me there was a way of directly accessing avid media a few versions ago, but i always found it rather sketchy.
(media going offline inside fusion) I quickly just started exporting clips again.Be aware that your organization will be key when exporting the intermediate clips. Connect will automatically create a directory structure for you when you add the plugin, but it is probably not where you want it to be. You can make your own (as I do) and export there, but the original structures are always getting created by Connect, which causes a bit of a mess in my opinion. I wish connect would not assume any directory structure, and instead ask you where you want it when you hit the export clips button.
Also, I’m still trying to determine how this works in a traditional offline/online situation. With connect you have a plug in on your timeline that is pointing to the comp and renders created by fusion. I’m not sure what happens here if i send this through an aaf to Resolve for color. Now that resolve can handle connect as well, perhaps it will be seamless…but i haven’t tested that workflow, as i haven’t jumped to 12.5 Resolve yet.
Glenn
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Im running a dual processor z820.
Win7
32 gigs ram
Avid DS 11
Media composer 8.5
Resolve Studio
Fusion Studio
Kona 3
Decklink 4k
K4000 for gui
Cubix with 2 gtx 770s
Thunderbolt 2 card
Several different raid setups for storage.Glenn
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Not sure about Mac. I run windows. I have 2 +1 for gui. Seems to me i had a discussion a year or two back with Peter where the question was if the gpu limit number included the gui card…whether ir not you used it for compute (if that is still an option). The answer was that number is for the total number if cards in your box. For windows i thought it was 3.
Glenn
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2 plus 1 for your gui. (studio version)
I dont think that has changed in 12.5
Glenn
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you can’t import the drp, you can import a CDL (color decision list) much like an EDL
Glenn
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Regardless of the manufacturer of the board, you have to make sure you have enough slots for other cards as well.
That is where the Cubix shines.
My z820 has a Kona3, a thunderbolt card, a Blackmagic Card, a Quadro k4000 , an esata card and a cubix card.Also be very careful when reading the specs. Many mother boards are 16x on this slot, as long as that slot doesn’t have a card in it, or that card doesn’t have a 16 x card in it. you need to carefully map out your cards, ensure they will all work together, (and don’t take up 2 slots)
You may need 2 Cpus to get the full bandwidth on all the slots as well (if the board has that ability)
Other cards will only work in specific slots, and Blackmagic has its own recommended slot configurations.
Glenn