Jake Blackstone
Forum Replies Created
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Unless it had been fixed, Digital Bolex records at 24fps, not 23.98 and it doesn’t support TC. Other than that, it’s great:)
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Nucoda runs on Mac very well. The trick is, you must run it under the Bootcamp.
As far as the main advantage of BLE plugin over Resolve, is the absence of conform. You just open the Avid timeline and start grading. BLE grading operation, support for brilliant MC Color and Transport mapping (don’t bother with Elements, it’s pure garbage) and the best color science in the business makes it as close to the real thing as it’s possible for a plugin. Filmlight constantly keeps upgrading it’s capabilities, but yes, they have to rely on Avid underpinning. Free rendering and reviewing plugin is a welcome addition. Now anyone with an Avid can load BLE grades and render without a need to spend $1k. Anyone grading episodic programing, that uses Avid owes to themselves to at least give it a try. Here is a very good demonstration done by Josh Petok of the basic AVID/Daylight/BLE grading workflow.
https://vimeo.com/152250438Some contents or functionalities here are not available due to your cookie preferences!This happens because the functionality/content marked as “Vimeo framework” uses cookies that you choosed to keep disabled. In order to view this content or use this functionality, please enable cookies: click here to open your cookie preferences.
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Opening a project on a second machine using shared database or opening exported project is not quite the same as sending the render to a remote machine. It’s too bad you can’t kick off the render on the remote machine (Mac) and use it’s codecs (Prores). Is that not allowed under Prores licensing from Apple?
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Does Remote Render means, that you could grade on Windows and then send that project to be rendered on a Mac? Does this functionality is similar to a FL Compressor in order to work around the Prores Windows limitation?
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If you’re willing to pay $10K, then you should look into buying Nucoda. Yes, i know this is Resolve thread, but I’m tired of everyone whining about mapping, but no one is willing to do anything about it. Nucoda is $6700 and you can map anything you want. As far as Resolve goes, I got tired of waiting for MBD and now I’m using two panels at the same time- MC Color and Elements. With those two I too can map Resolve to whatever I want. Look into it…
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Resolve’s cache is a complete mess. It’s way too complicated as it requires constant user input- Do I use Smart cache or do I turn it as a user, render cache source? Do I leave it in auto? Do I use render cache output? Come on! Talking about overcomplicating it!!! In Nucoda I just turn it on and I’m done. How difficult is that? And while we’re talking about it, in order to to invalidate Nucoda’s cache you need an act of Congress or you need to explicitly tell Nucoda to get rid of it. I literally after the job hand the drive with original camera material back to the client and if they need a fix, I still have all transcoded DPX or EXR cache available, until I tell Nucoda to get rid of it. So, the answer, as usual, BMD needs to go back to the drawing board and design cache mechanism to work correctly. Any other requests to improve cache is just a lipstick on a pig…
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Marc. You’re treating hardware products and software products as they interchangeable. They are not the same. Just look at BMD own case of grading panels vs Resolve. Panels price, after the initial 50% drop stays exactly the same since BMD bought DaVinci. At the same time, Resolve had been essentially free, because the only way to make it even cheaper is for BMD to start paying users to use Resolve. Essentially, if BMD was an American company, they would be breaking the anti trust law, mainly they would be guilty of Predatory pricing.
Here is the definition of Predatory pricing, which happens to match BMD’s strategy to a “t” from Wikipedia.
“Predatory pricing (also undercutting) is a pricing strategy where a product or service is set at a very low price, intending to drive competitors out of the market, or create barriers to entry for potential new competitors.” -
And let’s credit BMD, that they had managed to distort the color grading software business so much, that even the best of them left scratching their heads trying to decide how to survive in this market. If it continues like that, there will be no Lustre, Nucoda or Baselight or Mistika, which would make for very sad world. I don’t want to have a choice of one- Resolve.
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Yes, I do it on my Z820. Both BMD and AJA cards are installed and properly function. You can even have Resolve and Nucoda run at the same time with either displaying images with their respective BMD and AJA cards.
Or you can run Nucoda on MacPro 5.1 under the Bootcamp. It runs perfectly as well. -
“Use source clips full extends” will just pull full clips to the new location.
“Consolidate Multi Edit extends” will pull only clips used with IN point using the beginning of the first take in the clip and with OUT point will be the end of the last take on that clip.
“Consolidate to Segments” will consolidate only the material used. Because there is a possibility of multiple takes with same names, Resolve will do the “unique names” trick, by adding the suffix, like S_000, S_001 etc.
So, for that conform to work, you must export a new XML, AAF etc. The new XML will take the new unique name into an account.