Jordan Mena
1
COW Coin
Forum Replies Created
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I know I can do that. But, I would really prefer to use XML and clips with handles.
Jordan Mena | Editor | Colorist | Producer
Los Angeles, CA
https://www.youtube.com/playlist?list=PLJitHxgajDS3y4C0gZjH_ZJihqPLHB32p -
[Aindreas Gallagher] ”
the point with premiere is that on any half decent mac, it doesn’t care what the media format is? red native, avchd native anything basically – they’re not messing either – it really does work – throw it on the timeline and playback.”This is true to a certain extent. If you are staying inside PPro then using all the different flavors on your timeline is fine. If you plan on going out of Premiere for color then you are going to have problems with Media management (Premiere Pro can’t trim compressed Codecs or Red files) and also, the fact that many color systems can’t read these codecs. If Color correction is apart of your workflow then transcoding is the way to go. Well worth the wait. BTW, with FCPX you can transcode to an optimized format at any point in your edit 🙂
J
Jordan Mena | Editor | Colorist | Producer
Los Angeles, CA
https://www.youtube.com/playlist?list=PLJitHxgajDS3y4C0gZjH_ZJihqPLHB32p -
If that was only possible. I like the way you think!
Jordan Mena | Editor | Colorist | Producer
Los Angeles, CA
https://www.youtube.com/playlist?list=PLJitHxgajDS3y4C0gZjH_ZJihqPLHB32p -
[Shane Ross] ” That seems like a fine solution…QT and EDL. I think we all got spoiled with how COLOR did things…send back clips with handles.”
This should be the norm across all NLE’s not the exception.
Jordan Mena | Editor | Colorist | Producer
Los Angeles, CA
https://www.youtube.com/playlist?list=PLJitHxgajDS3y4C0gZjH_ZJihqPLHB32p -
It’s a problem. I just got a sequence from a client. the footage was made up of H.264 and Mpeg4. Resolve didn’t see the mpeg4 codec. I can either trancode those clips then overcut(time consuming) or I can send as a flat file. The problem is that my client fiddles with his timeline so I’d like to export from Resolve with handles. FCPX for the win on this.
Jordan Mena | Editor | Colorist | Producer
Los Angeles, CA
https://www.youtube.com/playlist?list=PLJitHxgajDS3y4C0gZjH_ZJihqPLHB32p -
I looked into that and found nothing. It was amazingly hard for me to calibrate my HDMI LCD. If you have an easier time let me know.
J
Jordan Mena|Editor|Colorist|Producer
https://www.youtube.com/playlist?list=PLJitHxgajDS3y4C0gZjH_ZJihqPLHB32p -
I’m running the BlackMagic UltraStudio Mini monitor. I had to buy this so I can run FCPX, Premiere, AE, and of course Davinci Resolve (due to Resolve not seeing AJA). For the most part it works fine except once in awhile if I switch NLEs or in and out of Davinci my monitor goes all crazy. Only way to fix is if I quite everything and replug the Thunderbolt from the Mini monitor. If I wasn’t working in Davinci I probably would have bought the Aja T-Tap instead.
Also, if you are changing frame rates in between projects you have to set it inside System Prefs and not inside FCPX. That drove me crazy before I figured that out.
Hopes This helps.
J
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Thanks. This really helps.
J
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It depends on your onsite needs. The monitor your looking at isn’t a true 1920×1080 monitor so you wont be getting a correct pixel per pixel reference. Are you doing final color grading? If you are then this probably isn’t the solution for you. If you are just ingesting into Resolve for Dailies and just need to balance to send to your editors and producers etc. than you can use the scopes within Resolve to CC your clips with this monitor and it should be ok.
J
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Thanks! I’m going to run a few tests this week with Premieres Project Manager and its Trimmed function. Hopefully it will work out.
Thanks, J