Joseph Owens
16
COW Coins
16
DaVinci Coins
Forum Replies Created
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Flanders is now offering a hardshell case that should stand up to most shippers:
https://www.shopfsi.com/Hardshell-Transport-Case-p/case25.htm
probably better than a cardboard box — even though I still have my original packaging which is what most manufacturers prefer.
Little bit of insurance might not be a bad idea.
jmPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Laurent Fluttert] “there are some more differences, but nothing big.”
Because its an AMD GPU, you will not be accessing any of the leveraged CUDA media processing (but it won’t be the impediment that it would be to older nVidia cards that do not support CUDA2.0).
The other small caveat to the basic edition is that there are some packaged OFX plugins that require the Studio level application — not only the BMD originated ones but some other third-party suppliers’ FX require multiple-frame access, which *entry-level* cannot supply. Very prominent example would be the Mocha-enabled Pixel Chooser that accompanies the Boris Continuum.
An interesting proposition might be ownership of a Mocha license — perform and export your own tracking data and try to import that into the Resolve Boris plugin… don’t know if that is possible. I think you can go the other way. This might seem faintly ridiculous from a cost/benefit perspective when it might be cheaper and more beneficial/efficient to simply own a Resolve license and buy the OFX component that you want. Then you have the whole orchestra under one roof, which is increasingly the whole aim of the *Resolve Evolution*. Which might be the new name for Resolve 14. What do you think, Peter?
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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They’re being re-scaled or the aspect ratio is being adjusted?
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Chris Wade] ”
The only issue I ran in to was, when trying to export the AAF roundtrip, it would render out all of the files but then would error saying something like “unable to find C:\Users\Clay\Desktop\blahblahblah.aaf. Export failed.” And then it wouldn’t export the AAF file I would need to finish the roundtrip.Worst case, i could export everything out in a DCP sequence or something like that”
I think you might mean dpx sequence or something like that… but you probably don’t need to go to that extent.
The unable to find [filepath] is probably a result of a nonexistent mdb in the strict hierarchy that Avid MediaFiles needs to construct a native AAF. I have evolvoved an approach where I set up that Avid MediFiles/MXF/10 or other #/… grade media target. Otherewise you might be in a situation where you sort of break the round trip and create a NEW AAF, and then point it to that numbered grade media folder so that Media Composer on startup can scan and create the mdb that it uses to index the new files.
jPo, CSI
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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Also a lot of sync discrepancies depending on whether you are using the system audio, the Blackmagic I/O device, and even this is intermittent. Hard to edit to a sound cadence. Yeah, I know, you’re supposed to line up the cuts with the waveform.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Donald Mitchell] ”
by Donald Mitchell on Jun 6, 2016 at 3:35:07 pm
Can I display scopes for both clips at the same time?”
Because the time-honoured method is a split screen, you do only get one set of wfm/vector displays, with the traces more-or less superimposed on each other. In a way this is superior as you will be able to see how the values overlap directly. It may be confusing to someone who has never used this approach – to sort out what noiseball represents what values, but moving them around with the grade controls can eventually become intuitive, like any aiming system.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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Yes, there are contextual dynamic trims available in the Resolve edit page, explained in detail in the manual.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[scott petersen] “I can’t get my external monitor to work.”
In this case, “external” means “external to the Operating System”, as in not part of your GPU setup. BMD does this to ensure independence from any ColorSync interference with the application’s display color fidelity.
This topic has been explored since grade became possible with commodity-level hardware… and while conspiracists suggest the requirement for BMD hardware to achieve this goal, its more about creating a bullet-proof, water-tight color management environment.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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If it is my post, I’ve added an update.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Matt Stoltz] “where do you check all that at ?? “
Resolve allows you to pick between the two ranges (although the default is “Auto”) both incoming and outgoing– but I have noted that some NLEs don’t scrutinize the incoming media necessarily, and sometimes it will assume that what went out is how its coming back in, which isn’t always true. You could be editing an RGB codec in Premiere (or whatever) and one would think it would be fine to render in DNx or ProRes to come back, but the NLE might assign RGB ranging incorrectly to the now linearized media, since that is how the sequence was set up in the first place. Ive seen this both in Media Composer and Premiere, and FCP7 used to do it as well.
If you have a waveform/vectorscope available, either outboard or within the editor, the first telltale symptom is either clipped/crushed blacks or floating up around 10 IRE…
This isn’t always fixable on the return trip. Some NLEs allow a range re-assignment, but not all, and the latter forces a re-render in Resolve picking the “other” option.
jPo, CSI
“I always pass on free advice — its never of any use to me” Oscar Wilde.