[Joseph Owens]

[Roman Hankewycz] “And what do you do about AAF exports? I usually need to do a lot of manual adjustments to the edit in Resolve so how do you get those adjustments to translate back to Avid?”

Don’t. The FCP XML round trip allows you to do this, but the AAF round trip doesn’t support revision. At least in the version I’m currently using — 8.2. Render handles if you can’t lock the thing before grade. If you’re replacing VFX shots, there are other options.

[Roman Hankewycz] “what do you do when you have multiple instances of a shot in the sequence that you need to grade differently?”

Make a “Local Version”. Start by right-clicking on the thumbnail and follow the prompts.

Tape names and all the other media file references are trickier in AVID flow, because of the fixed and rigid directory hierarchy — you might have better luck creating a different numbered file under the AvidMediaFiles/MXF tree. Understand the new media has to be identified differently.

On another issue —
The video tutorial listed in a response above is… well, it could stand being about 6 minutes instead of 14, and it seems to completely ignore the possibility that Loading an AAF, then exporting and Loading a (Resolve) generated AAF (in 8.2, there is an “AAF roundtrip option”) eliminates all that messy file management. And be careful with the Render settings! You CAN choose 23.98, which is not 24.000.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[Jose Arce] “And the most important thing is monitoring.”

Yes, but well, really its an important thing, but…

your grading environment can be very significant, as well — ambient lighting, viewing angles, backdrops, and so on. Grading is not editing. Its not even like editing.

Imagine you are a perfume/cologne tester…. How’s that going to work if someone has placed a big bouquet of Stargazer lilies (which I think stink) next to your sniff-test? Or better yet, you are a beer-taster (can I have that job, please?) but someone insists you have to lick somebody’s armpit between sips? (Not this part.)

Its not about the tools themselves, sometimes, its how they go together.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[Zak Ray] “desktop calibration, i.e. a Spyder?
“

Generally are sold to be used to calibrate consumer displays for photography (gamma 1.8) to profile for inkjet, which is probably not really your target space. The Spyder is useless for video.

Some third party characterizations are totally incompatible with professional grading software.
Example: ColorMunki will cause Apple COLOR to display garbage.

This topic has been discussed daily ever since Apple introduced COLOR to the Final Cut Suite, with most users oblivious to how dangerous it actually is to perform wholesale adjustments to their media under uncontrolled circumstances.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[Gary Badgley] “The codec container out of Vegas is edl?”

No the codec should be something compatible with Resolve, like ProRes or any of the others listed on their website white paper. Go to the BMD website and drill down to Resolve support.

An edl is an Edit Decision List (ie CMX3600) that is a text file describing the source/record ins/outs used to compose the final project. Resolve can use and edl to “cut up” a “baked” Quicktime of the final project so you can make corrections in a similar fashion to having the original clips. There is also a “scene detector” that can be used to create “notches” or “event markers” on the timeline.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[Chris Kenny] “I’m virtually certain”

!? There’s a sworn affadavit.

Third-year engineering students, at least in my day, were subjected to a course called “Statistics and Probability” that helps to ground one in the arcane study of “reliability”. Usually the phrase “figures don’t lie, but liars can sure figure”. My worst subject but left a lasting impression.

Given the sample size of this forum, there are absolutely no grounds to base any decisions on the opinions expressed here — with a certainty accurate to 100%, 20 times out of 20. I was going to put down something like 98% 19/20, the way you would be any stochastic distribution (pseudo-random), but… to be blunt — irrelevant.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[Mike Squires] “Would this camera with this lens work:
https://www.dpreview.com/lensreviews/tamron_18-270_3p5-6p3_vc_n15“

Its an EF mount, so you will at least be able to attach it to the body.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[Shane Betts] “Now then Grant, just give us a Micro 4 thirds mount and we’re all good to go.”

Second the motion.

The very first thing out of my commercial client’s mouth was “what’s the mount?…. oh… toy lenses.”

PL at least, please.

I’d buy two, for, oh, I dunno, just because its a nice round number…. and a roll of gaff tape….

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

8.2 is not beta.
8.2.1 is.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

Actually I’ve had the exact same problem occur with the same MBP. The “Genius” takes it in the back room and identifies the problem as “the logic board”, that’ll be $600, please, well, they don’t actually say “please”.

Frankly, I don’t think they know what they’re doing, since the GPU is built into the logic board and of course it has failed. So really, I’m just waiting for it to fail again (because the replacement is the exact same defective build) which will trigger a return trip to shove the machine and their repair bill somewhere the sun don’t shine.

Its the kind of behaviour I expect from a company that is out of control.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[andrew sableton] “Intermittently some clips render the wrong section of the source media.”

Do you mean in the preview timeline, or when you are actually rendering new media for export, and do you catch this when you re-open the XML in FCP7?

You mean “Old Ben”? Ben Kenobi?