Joseph Owens
16
COW Coins
16
DaVinci Coins
Forum Replies Created
-
[Dave Pickett] “via Resolve Live using UltraStudio Mini Recorder to Thunderbolt “
Which you would think would behave like “Capture Now” in Final Cut. I’d be tempted to use the Blackmagic Media Express utility if I didn’t have access to every other NLE on the market.
But here’s the followup question — what are your intentions with this media? its obviously going to be 2997i 720×480/486 natively. Are you going to have to try to integrate it into an HD timeline or is the whole project NTSC end-to-end? There might be better approaches to capturing the media in a more useable way.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
-
It seems as though its a Quicktime flag, as some trials that I have been doing with multichannel field sound sync dailies… export ‘same as source’ get flagged as 5.1 in Quicktime Player, even when there are only 5 channels — It is weirdly listed as 5.1 in the SMPTE DTV configuration but missing the Rs channel, ie (L,R,C,Lfe,Ls)
I blame Apple.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
-
[Peter Chamberlain] “I doubt they could be changing Alexa settings while decoding red raw”
They could be interpreting the Project Settings… Camera RAW… default being ARRI Alexa as the option that was chosen, but I personally don’t think this is how that dialog works.
I also doubt that there would be any change in behaviour even if the “Red” option is opened in that dialog. Among all the metadata hierarchies in that subgroup, assigning ARRI color science just isn’t available. I thought that that particular configuration really just told the rest of the application how to deal with different RAW formats IF that format were presented to it in the Media Browser, and consequently how to present it to the Edit page for inclusion on a COLOR timeline.
My bet is that the original colorist either adjusted the RAW settings on a per clip basis and those settings haven’t made it into the project export correctly (did not check “Save with Version”, or used a “project settings” default, maybe even a proxy that infers an Alexa profile since that is also the default RAW decode that is displayed on the COLOR page, but isn’t actually applied. When I import R3D clips onto an otherwise default timeline, the Master RAW settings automatically select RED, at least on my system. It would take some very deliberate reassignment to mix the camera deBayer strategies.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
-
[Sascha Haber] “The easiest is to use a second track in which you… &tc.”
Or a tracked power window in the appropriate shape.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
-
[Ron Pestes] “Have not checked BM requirements yet.
“different from the requirements of Premiere in many ways.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
-
The real issue with “Flip” and “Flop” is that at least in FCP it is a “Filter”, which is not translated in Resolve. A decision needs to be made whether to execute it in grade or leave it alone and let FCP re-do it on the return trip. If you do decide to flip or flop the clip in Resolve, then the filter will still be present in the return XML, and will still have to be undone in the (Resolve) FCP timeline once back in the NLE.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
-
[Ron Pestes] “I have installed Resolve 11 but have 2 problems”
Juan is probably right (A/U)… what GPU/CUDA drivers are you running?
I see that both platforms you might be trying to operate with are laptops — if you have not done so, and you have been able to run previous versions of Resolve on either of these systems, it might be worthwhile to check the configuration guide on the BMD support page to make sure you are enough above minimums to support not just booting the application.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
-
[Sascha Haber] “Bringing in cuts separately locks them to their in and out points (no transition possible)”
Using scene-detect is very rare for my usual workflow, but recently worked through a 117-minute feature that I had to accept as three baked “Acts”, for various reasons. Scene-detect sort of worked in 80% of all cases, suffered from the same ambiguities that it has had since (small-d) daVinci introduced it. It is a bit annoying that clips cannot be “joined” after the import process, for the few cuts that might have been missed or made that elude the first pass. By Act 2, I had learned to ignore the existing dissolves, add a cut in the Edit page and overlay a crossfade at that stage. Works a little easier than trying to keyframe a color transition on the COLOR page that may or may not have conflicting parameters which makes the correction hard to track linearly.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
-
[David Mathis] “Is there an option to keep that culprit of a character from getting attached to the file name?”
In my experience, this issue has almost had an exclusively human element involved, so “education” is the primary preventative. Otherwise, there is a handy utility called “Automator” in MacOS that you could deploy to seek-and-destroy — well re-name — the offending source files.
Then you would be into a re-connect, which while an additional step, cures a lot of ills.jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
-
[Charles Boileau] “Does anybody know why the DCI decided to go for XYZ instead of RGB for theatrical representation?”
Short answer is that X’Y’Z’ covers the universe. Its theoretically an infinite colorspace, into which all others will fit. IE. one ring to rule them all. And its the same agenda.
Choice of whitepoint is another discussion.jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.