Joseph Owens
16
COW Coins
16
DaVinci Coins
Forum Replies Created
-
You might be able to do this in a parallel node with a secondary HSL qualification, just uncheck the luminance.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
-
[Joe Bigornia] “Can I ask what you mean? I have my GTX 580 going to 2 LCD displays”
I get the feeling the OP has only one GPU. This would explain the DaVinci error message, since two GPUs are normally required to take advantage of CUDA processing — one for the primary User Interface (which should be connected to a display) and a second for image processing (which should not be attached to a display).
How do I see the color-corrected output?, the poster might ask.
The configuration manual would point out the use of a Video I/O device — specifically the Blackmagic Decklink Extreme3D.jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
-
[Salvador Abarca] “Once we finish Color grading the Session, we tried to export the individual shots to “re/ensamble them” Back in Avid, but we had the 1080p limitation and we needed to test the 2k output, so we could find a way to make it work, but exporting the session with all the time ramps, crops, etc.
This was quite a let down, because we could not figure out how to make the re-assemble the online high quality material. and Ended up, doing our “Online” in FCP. *Any tip on how to make this work? i mean, the full turn arund between avid and davinci?”Are you not aware of the “AAF round trip” option in the render window? This will establish a relinking protocol to identify the rendered media within a new AAF (requires an original from AVID MC or Symphony). In “Conform”, you “export” a new file which will be named *project name*(Resolve).aaf . Very, very similar now to a Final Cut round trip as we knew it in Apple COLOR. I do create a new, numbered, directory in the AvidMediaFiles/MXF path to help isolate the fresh media. Whether this is totally necessary, I don’t really know, but it helps with organization. At the very least, the new .mdb that is created when AVID is booted can be dragged into a new bin for analysis and backup.
At the end of the day, however, finishing in Final Cut7 should not be that big an impediment, as exhaustive testing has shown that titling remains slightly higher quality in the Apple system.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
-
Time for a poorly advised and inaccurate analogy.
Hypothetically, the Scuderia Ferrari (who make race cars and exotic sports vehicles) could get told by FIAT sPa (their holding company) to put those expensive F1 cars on hold, because we have identified a market for a Cinquecento with a prancing horse on the hood that will sell in the millions of units. Of course, those caterwauling Grand Prix drivers won’t win anything for several years because there are several other teams who are actually hungrier for victory — but that doesn’t matter to us, the Ferrari brand is sacred and cannot ever be marred by filthy lucre, because it is a religion and our faithful tifosi will never leave us — but meanwhile we can make an @$$-load of cash. Wouldn’t you buy a thousand-dollar Ferrari? It would still be a real Ferrari — don’t you dare say I’m not a PRO.
What do you think that other visionary, Enzo, would make of that?
Yes, he only wanted to make race cars and actually held the sedan-buying aficionados in contempt. They only bankrolled his real efforts.Too bad the phone/toy company can’t see it — the way would otherwise be clear to make something truly special, funded by the hobbyists, but they really think they are changing the world with the igadgets. Well, people are amusing themselves to death… I guess that’s a change.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
-
[Margus Voll] “just get locked project from client and life is sweet :)”
Yes, I have three clients that I always get locked projects from: Santa Claus, the Easter Bunny, and the Tooth Fairy. Also an unnamed executive at Apple who said that the project is “probably” locked, and I’ll get it sometime “late” next year. I love fables, they’re so, I don’t know…. “Creative“.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
-
Although the two instances from the same clip are linked in the Master timeline, I think they should be okay if they had a constant speed change (albeit different) applied to each. The only way you can guarantee absolutely predictable result is to follow Dan’s advice and bake them out and replace them. Remapped framerates can also raise hell with trackers and keyframes.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
-
[William Edwards] ” I think there might be an issue with a key framed speed ramp in FCP”
Right you are. A constant speed change would be okay — round tripped those many times personally, but a non-linear speed map is a no-no. One of the reasons that all media on a sequence must be the same frame rate is that the application calculates the in points and durations of clips based on the project frame rate and absolute frame count — but it only does the math once, and if there are non-linearitites in that, it is game over.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
-
Sometimes the moderators will cross reference a thread so that it will appear in multiple fora, but this particular one may not progress much further, as it really represents an extinct approach.
As far as describing a particular monitor as being a “Grade”, like Grade 1 goes, it only describes that device’s ability to achieve certain performance characteristics when it is new, and part of that is that it needs to consistently sustain that performance over its useful life. But all things die.
Even within strict performance specs, there is some, but not much, tolerance for variation, but your surmise that the SONY operates in a “different colourspace” is a surprising assumption. 709 is 709, and so on. No one ever assumed that a Betacam tape produced on a Sony machine would not play on an Ampex one, or any other machine that supported that format, even if they took different routes to establish that footprint. It is why there is a SMPTE/CCIR standard for most things broadcast, and the total lack of respect or awareness for that is the biggest reason why we are currently in format hell and everybody is feverishly trying to cook up ways to get their kluged-in solutions to conform to some poorly-understood exchange standard. And I think Apple is the biggest single offender and they never got it right.
For CRTs, there is a very specific description of what it takes to achieve a Grade 1 monitor — unfortunately that is all out the window for solid-state.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
-
Yes, that’s the one:
the Pogue report. This has been discussed.
“Many Apple observers also wonder if Apple thinks that desktop computers are dead, since not a word was said about the iMac and Mac Pro. An executive did assure me, however, that new models and new designs are under way, probably for release in 2013.”So, this is actually somewhat less than official. If I were to extrapolate along the lines of the death of Shake, Color, DVD Studio Pro, FCStudio, LIveType, and others… the MacPro as we know it is EOL. “New Designs” means that what we are likely to get in 2013, if it actually happens, will be a MacPro X”, awesome [or awe-full, you pick], with iOS-something installed.
The delay alone will almost guarantee that there will be no takers by the time the inventory is available. People who need to make decisions and make a living have other, better, options just a click away, today.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
-
You should re-check your CUDA version against the OS. The last approved RESOLVE CUDA was 4.0.19.
This might be different with Lion, or maybe not.
jPo“I always pass on free advice — its never of any use to me” Oscar Wilde.