John Michaels
Forum Replies Created
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Well THAT was easy. Thanks!
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I am experiencing this problem as well with the new Resolve 9 Lite beta on Windows 7.
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Are there any plans to bring it back? ProRes encoding was available in one of the Windows betas earlier this year and that was phenomenal.
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You might have more luck over at the Avid forum. It sounds to me like an issue with Avid, not Resolve.
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I don’t think you even need software to do this. If you white balance on the white card lit by the bulb, many DSLRs and video cameras will tell you the resulting color temperature they’re balancing to.
But the best way would probably just be to use a handheld color meter.
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Strange indeed! Have you tried explicitly relinking the graded clips in your sequence?
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You could copy the audio track over with Quicktime Pro as Juan said, or ffmpeg might be a better option in the long run with the -acodec copy -vcodec copy and -map options to grab the video, audio, and timecode tracks from the right files. You could use this to write a quick script to do batch operations that way on all your output at once.
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Well, check those Nvidia cards against the config guide to see if they’ll work. As for Firewire monitoring, that will not work. You’ll need something like a Intensity or DeckLink card for external monitoring.
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Have you tried a different format instead of XML, such as AAF?
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[Roman Hankewycz] ” In addition, you have to manually change tape names in Avid so that your original media and graded media share tape names. The tape renaming thing is ridiculous when you’re dealing with hundreds of clips, not to mention that changing tape names is not something to be taken lightly.”
The only time you should have to change the tape name of a clip is if it didn’t have one in the first place. Generally I think it’s a good idea to give everything a tape name anyway. If your source clip has a tape name, and your Resolve project settings are configured to properly detect it (“Reel Number” in Resolve parlance), Resolve will render the output with that same tape name so there should be no problem there.
[Roman Hankewycz] “In the case of the Avid round-trip this is not possible, because there’s no way for Resolve to tell Avid “Hey, I know you sent me one master clip for these 5 shots, but I’m sending you back 5 individual shots in return. Here’s where each of them should go.””
I see what you’re saying. You’re using one clip multiple times with the same in points, out points, timecode, etc, but for each instance you want a different grade. So in Resolve you use Versions for each grade. But when you send it back over to Avid, Avid doesn’t know which version goes where because all the metadata is the same.
In this case it gets a little trickier, but it’s still possible. Render with unique filenames to ensure one version doesn’t overwrite the other. Next, use the “Commercial Workflow” settings in the Render window. You could, for example, use the Alternate Pass Offset to offset the timecode for each version of your grade to sufficiently differentiate them for Avid. See page 373-374 in the manual about that. It might get a little messier on the Avid side, though.