[Joseph Owens]

[vince gaffney] “Does anyone know how to tap the power in the optical drive bay? Or should I just swap the 5870 out for a 5770? t”

Its do-able, but you might need to get some extenders… and you need to do some screwdriver work inside the Mac — usually involves removing the fan assembly to gain access to the gap between the optical bay and the tower’s main interior.

Two things, though. Most people opt to stuff another HD in the optical bay’s open slot…
and before swapping the 5870 out for another ATI, it is worthwhile considering acquiring another nVidia card, either Apple-certified or a compatible flashed much much faster CUDA card.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

You might also try changing the parent directory.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

[Ned Soltz] “What I got was 3 separate rendered .mov files”

So far, so good, but its only step one.

Now go to the Conform page timelines. Select your edited timeline and “export” XML or whatever it is that X can import.

Round tripping is covered in some detail in the new manual — especially AAF workflows.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

Conforming “flattened” media is something that daVinci has done since it was “Renaissance”, and we were doing tape2tape.

Try consulting the new (excellently-detailed) V9 manual from about page 156 — “Preconforming “Flat” Media Files to EDLs” and see if there is any help there. If it assists you in succeeding, you should send some flowers and chocolates to the guy on page 19.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

Can we somehow link this to the “Basics and Configuration” forum, so that people who are looking for this kind of information will be able to search it, or is there an automatic filter so that configuration questions are automatically linked? For example I see a lot of Speedgrade threads cross-linked in Adobe Creative Suite fora.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

[Arthur Dobbe] “It looks like Resolve 9 can play AVCHD media (without transcoding).”

[Arthur Dobbe] “Note that I’m using AVCHD re-wrapped in quicktime by FCP X.”

Sorry, you lost me there.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

[Sascha Haber] “I mean, We all know you need two LUTs…”

!?

First LUT. Not if you were working in a calibrated environment- one that conformed with industry standards & practices.

Second LUT. Yes, the one that transforms from your originating colorspace (eg 709) to the target format, if its different (P3 XYZ should be a mathematical transform since there are no organic differences in the media and spectral display primaries among the projector population — or there shouldn’t be!). But you needn’t use it for grading unless you are in a P3 display environment…. but if you are using a DCP transform to simulate a DCP projection, to a LUT’ed 708 display simulating a DCP theatre…. uh…. wt(x)…?

Be that a corollary to the “what is the cheapest possible display that I can use to achieve questionable results” thread as it may be, my sense of the OP’s question is that it is really about simulating the “look” of a particular emulsion-based stock as the image makes its way through the neg/print process. Which would be more about the grain signature and dye curves than anything to do with overall gamut and colorspace transforms.

Apple SHAKE does something like this in their FilmGrain node, and offers a list of Eastman profiles.

’45 has a dramatically different contrast/toe than ’93, and even more wildly different from the later Vision2’s and (thank god it died!) Primetime. I remember struggling mightily with the first few batches of 79 (500T) until it was discontinued and ’77 settled down so that it was nice and sensitive at the toe and seemed to have no end to its shoulder. But blue grain like ping-pong balls, if you shot it under tungsten and tried to ‘correct-in’ the 80B.

BTW, I’ve still got a couple of day-loads of 7245 and one ’46 (which was a massively sweet emulsion) in the freezer that I don’t know if I’ll ever find a use for again…

I don’t think charging for services is a sin. In fact, I am professionally pledged to do it. Also, Yes, “usury” is. +20% compound interest on credit cards is immoral in today’s economy, when financial institutions are licensed to steal.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

The new, extensive, manual covers the round trip process in quite a lot more detail now. In versions prior to this beta, you could not edit an AAF imported timeline without compromising the return to Media Composer. In this new version 9 release, you can, but with restrictions, audio being one of them – but it would appear that even being able to export an original Resolve AAF is a (welcome and new) work in progress.

But even recognizing that, things from this application development that we never were going to get from Apple COLOR.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

[gary adcock] “But was that not the purpose for the RETINA display on the Laptop?”

So does the print get even tinier?

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

I was interested in RED decode speeds. Without a RedRocket, 2048 runs at full premium at 23.98 and 4096 was running at about 11.5 fps. If deBayer is reduced to Quarter Good, 4K runs (with a few stumbles) at 24 fps. Obviously 2K runs like it was ProRes at that quality.

Or is this anything new?

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.