[Graham Hutchins]

[Chris Wright] “ok, this might make your head explode, but some lut’s will NOT work with linearize workspace.”

More like bang my head against my desk.

Oh well, not the end of the world.

I’ll generate my own LUTs to work with, since we’re not yet anywhere near the color phase. Nuclear gets me about 80% of the way there, a levels does the rest.

Thanks for the response!

-Graham

OSX 10.9.4, Windows 7
Adobe CC, CC 2014
FC Studio 3
DaVinci Resolve 11
12-core 2.7GHz nMacPro, 64 GB RAM

[Graham Hutchins]

I can appreciate that you’re trying to help, but you do realize that the D700 is an AMD GPU and that CUDA is an nVidia technology?

Nothing in the article you linked is going to help in this case.

-Graham

OSX 10.9.1, Windows 7
Adobe CS6, CC
FC Studio 3
DaVinci Resolve 10
12-core 2.7GHz nMacPro, 64 GB RAM

[Graham Hutchins]

Yep, that’s what it is on my machine as well and that’s how it will stay until Adobe gets around to optimizing AE for the nMac Pro.

Cheers!

-Graham

OSX 10.8.4, Windows 7
Adobe CS6, CC
FC Studio 3
DaVinci Resolve 9
Octo 2.26GB MacPro, 32 GB RAM

[Graham Hutchins]

Hi Sam,

Nope, I never did find a solution to this, but I have effectively given up on trying to work with R3Ds in After Effects, which, in a way, solves the issue 🙂

What I’ve been doing is getting the R3D clips into AE via FCP/Redcine-X or Premiere, using rd_PreCompose to pre comp each shot to either the length of the trimmed R3D or it’s edited length (FCP/RCX or PP, respectively) and then generating DPX or TIFF sequences to do the actual work with (can also be generated in RCX). AE just doesn’t seem to like decoding R3Ds, especially when comps start to get complicated.

I’m considering doing the same with Quicktime as a rule. AE CC has had serious issues with decoding QT on both my 2009 Mac Pro and now my nMac Pro.

All this transcoding is a bit of a time hit, which is manageable, and a huge storage hit, but worth not having to pull your hair out because of system instablility.

Hope that helps.

-Graham

OSX 10.8.4, Windows 7
Adobe CS6, CC
FC Studio 3
DaVinci Resolve 9
Octo 2.26GB MacPro, 32 GB RAM

[Graham Hutchins]

Yep, caught that right before you posted.

There’s nothing in the BM control panel that allows for down converting to 1080, at least not with the Decklink Studio 2. As much as I would love to shell out another $1K for a piece of hardware for my aging Mac Pro, I’d much prefer this to work as is, like the other two thirds of my post workflow, AE and Resolve, but it seems like that isn’t possible.

-Graham

OSX 10.8.4, Windows 7
Adobe CS6, CC
FC Studio 3
DaVinci Resolve 9
Octo 2.26GB MacPro, 32 GB RAM

[Graham Hutchins]

Nope, neither one of those works. Good suggestion though.

-Graham

OSX 10.8.4, Windows 7
Adobe CS6, CC
FC Studio 3
DaVinci Resolve 9
Octo 2.26GB MacPro, 32 GB RAM

[Graham Hutchins]

Hi Shane,

Thank you for the response.

I am fully aware that this card is not capable of 2K output, nor is it capable of down sampling a 4K or 2K signal to 1080p. My studio monitor isn’t 2k capable either. My point is that both Resolve and AE are able to display 2K and 4K timelines and comps so that they are viewable on my 1080 grading monitor using my existing hardware.

Seems like a pretty basic function. FCP7 is capable of this, are are AE and Resolve. Why not Premiere?

I guess I’ll submit another feature request. Thanks again.

EDIT: Well what do you know, looks like the monitor is capable of displaying a 2K signal. Need to upgrade the card or get Adobe to update Premiere.

-Graham

OSX 10.8.4, Windows 7
Adobe CS6, CC
FC Studio 3
DaVinci Resolve 9
Octo 2.26GB MacPro, 32 GB RAM

[Graham Hutchins]

Hi Bruce,

Can you please explain why both Resolve and After Effects are capable of sending out a signal that will play back via SDI on a Decklink while working in 2K timelines and comps, but Premiere is not?

I would really like for this to work at some point, as all the workarounds and half measures (“you can place your 2k media into a 1080p sequence and output it that way. Be sure to select Scale To Frame Size. “) are not really solutions.

Thanks.

-Graham

OSX 10.8.4, Windows 7
Adobe CS6, CC
FC Studio 3
DaVinci Resolve 9
Octo 2.26GB MacPro, 32 GB RAM

[Graham Hutchins]

**Update**

So I’m moving forward with conforming and trimming in Resolve and skipping RCX. Exported an XML for FCP, added both external drives full of R3D media into the media pool, and then imported the XML as a new timeline and everything seems to work.

Now to use the Trim Red clips function. Here’s hoping it works.

-Graham

OSX 10.8.2, Windows 7
Adobe CS6
FC Studio 3
DaVinci Resolve 9
Octo 2.26GB MacPro, 32 GB RAM

[Graham Hutchins]

Hi Roland,

To your points:

1) your insert image isn’t the same size as the comp

My insert image is a solid that is vertically larger than the comp with a mask applied to fit the space, the wall next to the entryway. This solid is within a composition with the corner pin/tracking data applied, hence the need for using an aligned surface. You are correct, this patch isn’t comp sized, but it is larger vertically than both the master comp and the pre-comp it is contained within. The reason for doing it this way is it will facilitate recreating the shadows on the wall, as well as addressing the fact that the trim on the door and the corner where two walls meet on the right are not perfectly straight.

2) your insert image wasn’t created at the frame where it appears in its maximum dimension, within the shot.

The thing about this is, if there was camera movement in z space, you would be correct, but the move is a nodal pan and tilt. The insert image was created using several points in the timeline, which has the effect of creating a patch the is larger vertically than the pre-comp in which it’s nested and the pre-comp is cutting off the tops and bottoms.

The fix for this, conceptually, would be to extend the boundary of the pre-comp while still using the same corners and corner pin data that’s been applied so that the top and bottom of the insert image wouldn’t be cut off.

Something that would look like this:

I may be asking for something that’s not possible, at least not the way I’m doing it, but I can’t imagine that I’m the first person who needed to create an insert image that covers scene geometry that dips in and out of frame, either vertically or horizontally.

Your suggestion of using a transform kind of works, although it’s not as clean looking as it could be.

Thanks again for sticking with me on this.

-Graham

OSX 10.7.4, Windows 7
Adobe CS6
FC Studio 3
DaVinci Resolve
Octo 2.26GB MacPro, 32 GB RAM