Jack Tunnicliffe
Forum Replies Created
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Yes, I’m finding sensitivity settings to be an issue, too.
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I hired one of the factory Davinci guys to come in and train me before the software released. I loved it right away. I date back to the first days of Final Touch before it became Color and thought I would never leave Color but I have. Davinci Resolve is where it’s at.
I’m repeating but tracker is amazing. Did a show where eyeballs were dark because of lighting issues and tracked eyes so easy. One node for each eye, each shot. Crazy but it worked. Nodes are great. Add as many as you want for each correction, different kinds, serial, parallel, layer nodes, etc.
I moved my Cooper controls over to a shelf where I could jump back in if I couldn’t figure something out in Davinci. Guess what, haven’t fired up Color since I installed Davinci.
I work mostly with Red for television series and commercials and quarter rez looks great, plays real time with lots of nodes and sound on playback. Directors and DP’s want scenes played back with sound. Sound is a big element of every production and affects how you feel about a scene. Gotta have sound.
Exporting and EDL with Red material is a bit tricky but once you get onto it it works fine. We’re doing series work with Red edl exports. Unfortunately Davinci doesn’t accept XML exports but does accept EDL or AAF. We tried using Automatic Duck AAF export for FCP but this didn’t seem to work. Curious how others have done it.
The qualifier actually works on Red files. In Color in the secondaries the keyer looks at the files before the Red tab where they are grey and washed out. I’ve talked to the Color engineers but as we know Apple’s busy building mobile devices so not doing any important updates to other products. Just try qualifying green grass from a R3D file in Color. Doesn’t work very well. Pretty well have to do a pre-render to QT first.
The one thing I do miss from Color is the saturation and hue curves. This is something I used a great deal in Color and is unique to Color. I hope some day this sort of feature shows up in Davinci.
The little Wave controller looks like a toy but honestly its not a bad controller. Okay, I’ve said enough.
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Dahhhh, ya, Rec 709, oops I meant 708, I mean Rec 708. Have you never seen it abbreviated for the sake of quick conversation. And, what am I so incorrect about? You don’t explain yourself but you better now.
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There is just one problem. The current Diskwarrior won’t start my new laptop. Here’s what they are saying:
The current DiskWarrior DVD cannot start up the new white MacBook (NVIDIA GeForce 9400M graphics) and MacBook Pro 17″ models introduced in January 2009 and it cannot start up the new iMac, Mac mini and Mac Pro models introduced March 3, 2009. An updated disc that will also start up these recent Mac models will be released as soon as Apple, Inc. releases new startup files to Alsoft, Inc. and other developers.
I’m going to try booting up in target mode and fixing it from another machine.
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Okay, Rafael… you’ve convinced me. I’m going to run through it all and reinstall FCP this weekend from scratch. Will let you know how I make out. Thanks for your advice.
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Yes, I do use DiskWarrior, etc. The computer runs fine, persmissions correct, etc, etc. It’s brand new so there really shouldn’t be directory issues yet. The footage plays fine in QT or in the viewer, but as soon as you drag over to make an overwrite or try to drop it down on the sequence the machine almost freezes. I’d have to say that I’m 90 percent sure that this is some sort of display issue. I’ve got the Nvidia GeForce 9600 GT card with 512MB of ram. This is a fast display card yet there is this 2 second delay. A person can’t edit a documentary like this. Add all those 2 second delays up and you get days or weeks at the end of the project in wasted time. Again, moving the project over to a desktop machine on a firewire drive results in no delays dragging, dropping, trimming.
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Yea,I think something’s wrong with this machine or my setup. It doesn’t make sense. HDV is such a low data rate. It makes no difference if I’m on a fast, external firewire 800 drive or on the eternal. I’ve tried a simple project with one clip and even that has a big delay when trimming.
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Bitvice. Worlds best software mpeg 2 compressor. Better than almost all hardware compressors. Forget Compressor. It sucks.
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You should not be getting a shift exporting out of Final Cut and re-importing. I’ve never seen that happen before. Could there be a mismatch between your footage and the sequence. What happens if you create a new sequence and drop the footage into the sequence and when FCP asks you, let it change the sequence settings to match the footage. Then export and reimport this footage.
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Brandon:
Thanks for your comments. I had many of the same questions for AJA engineering yesterday. What I was told was there was no issue running without the uncompressed codec now. This includes all aspects of your work including capture and your color correction work in terms of color grading, using a calibrated grading monitor. The only time the codec will now be required is when stepping back into legacy projects. Where to draw the line, I do not know, but I would suggest that with any legacy project you simply reinstall the AJA codec as the only issues you’ll have with that project is if you then generate new renders in After Effects using the ProRes or uncompressed 10 bit codec. You would again have to use the v210 coded or remove the AJA QT library component to do your renders in 10 bit uncompressed.
We did some captures in 10 bit uncompressed HD yesterday to check one of our systems. The captures were precise and we round tripped this footage through AE 7 and AE 8 without issue.
Basically what has happened, and don’t hold me to this, it’s an assumption, but I think a pretty good one, is that Final Cut converted to a YUV application about 6 years ago. We saw the introduction of the 10 bit uncompressed codec and it was not a perfect codec. We immediately saw the problems with round trip renders and were concerned. We spoke with AJA engineering and they talked to Apple and out of this came the v210 codec. Really this codec is a mathematical workaround or fix for the problems with the Apple 10 bit codec. Jump ahead to 2008 and you may have remembered release notes for a recent upgrade of Final Cut Studio in which Apple stated that Apple colour systems had been improved. This was probably when we could have removed the AJA codec. Apple had finally fixed the YUV/RGB/YUV conversion issue. We can now safely use the 10 bit uncompressed codec again.
My hat off to AJA engineering. I do not wish to shed any bad light on this team whatsoever. They have been amazingly cooperative. Every time we have an issue, whether it is hardware or software related they come to the rescue. What they did with their codec several years ago was a fix for Apple’s issues and I’m sure they were not told when the codec was altered in QT. You know how non-public Apple can be.
AJA engineering has told me to look for an update in the near future. They gave me no time frame but I’m sure it won’t be too long. These guys don’t drag their heals.
Thanks for joining in on this everyone. Jeremy your hard work was amazing.
Jack Tunnicliffe
Java Post Production