[Jon Hensen]

I would also just throw in that we have had some issues with 2022.5 – (mostly exporting issues), but rolling back to 2022.3.1 has resolved them. Seeing some general complaints about this latest version. Not a huge deal to test and roll back. That said…

We do all of our offline using DNxHD OP1a.mxf and don’t have an issue. I suppose it could be something with the C70 codec as well, but not sure?

[Jon Hensen]

It is worth noting that unless you are editing in full resolution off of your native camera essence (sometimes referred to as raw media – not to be confused with RAW codec), your colorist will also want access to the original raw camera files. Are you editing off of transcodes or working via the Premiere proxy workflow?

The colorist will likely need the first generations (raw camera files) to perform the color grade and then either send you back a fully rendered and graded timeline or individual graded clips. The latter will likely need to occur for any areas of the edit that contain effects or transitions native to premiere.

[Jon Hensen]

Thanks, Neil. I wonder what people are using then for 10gigE on M1 MBPs? Anyone know?

Two of our clients would fall into this category unfortunately.

[Jon Hensen]

What drives are you currently using?

I feel like on location drives can be lumped into to two categories, fast shuttle-type SSDs and then RAID storage for some built in redundancy that a DIT would be transcoding dailies off of.

For the SSDs, people like the Samsung T7s and the Sandisk Extreme Pros, BUT they will throttle after continued use – something like after 20 minutes or transfer time you will start to see a dip in performance. So I would use these for off load only and not for transcoding.

For the RAIDs I would spec a TB3 OWC Thunderbay RAID 5 – the amount of storage this could buy you may be overkill, but RAID 5 is pretty standard for some added safety in the field. If you wanted to get their RAID 0 or RAID 1 models, you could go with the Mercury Elite lineup of drives, I would just make sure you had a master and a backup!

[Jon Hensen]

You could also try transcoding all the audio to be uniformly one format, on the off chance you have some mixed sample rates in there causing some problems.

Use the convert audio sample rate, convert audio bit depth, convert audio file format check boxes on your embedded preset.

[Jon Hensen]

MC still doesn’t support HEVC/H265 (which is the codec of your iPhone footage), you will need to create new masters in order link and transcode. Or you can create new masters in Resolve and import via .ale workflow.

Footage sounds great!

[Jon Hensen]

Hi there Bob – hope you’re well! The Web presenter seems like a great way to avoid toggling the IO using something like NDI (which has been helpful but up to a point for our workflow). The 720p cap isn’t great, but definitely better than a stuttering screening session.

One question though – Is there that standard 5-15 sec delay when using this, or is that delay null and void as BM Web Presenter turns the feed into a source similar to a webcam? I hope this is a stupid question. Thanks again.

[Jon Hensen]

Thanks, Pat – will do!

Academically, is there a reason AVID did not provide a 10bit codec for UHD codecs?

Also while we are working with 4k media we are still cutting in 1080, and will end up creating a mixdown at 175X to transfer to an interlaced project once finished – so I assume our transfer to 10bit there won’t have any color space issues?

[Jon Hensen]

Thanks, Pat. A guy’s gotta hope – good to know though.

[Jon Hensen]

Ended up just having them create split tracks for audio to match a full res export. Not the most sophisticated but it beat the troubleshooting I was starting to get bogged down in.

For the record as is indicated, audio AAF out of Resolve does not seem viable.