Joseph Owens
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COW Coins
16
DaVinci Coins
Forum Replies Created
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[Marc Wielage] “I think the tools they have in v11 will work as a conforming platform, which I think is all they ever intended.”
Whatever the application developer’s intentions are, there is an entire population that has another agenda.
In working experience, the gulf between a successful project execution and a smoking crater is usually the project exchange (roundtrip). It is the single-most huge challenge in the collaboration. Depending on the personal esteem slash confidence issues that any one particular editor might have with exporting their efforts to another facility or even workstation but also application– there are, without exception approaches and assumptions that have been made (and publishing a do’s and don’ts is even less productive than an actual manual) because no one reads either, and the application is usually changing faster than we can find and dig up all the mines that are lurking in that particular field. So whether there are simply edit approaches that aren’t supported (lots of nested sequences), or just improvised practices (cutting up a clip to execute speed and motion changes, which could be executed with keyframes but the editor didn’t know how to do that) or layering on filters and plugins that at least up to this point are either not supported, invisible, or get corrupted in the XML modification… failure. And 3x the budget in cost and schedule to fix it. Which, obviously nobody wants.
99% of what we do really is pretty straightforward. Cuts and dissolves. Titles. Paste up some stills and KenBurns them. Roll the credits. On second thought, don’t roll the credits… that really doesn’t translate well between Universal, International and Domestic frame rates. I’ve never really argued against the use of, e.g. FCPX as a tool, who cares? It still does all the same stuff — no one at home would have a clue. The difference is in the bins, and if anything resembling a point can be taken from this, the real strength of an NLE is not necessarily in what you can do on the timeline (as long as everybody else understands how that works) is offering the right choices to an editor, so the catalog is supporting the story. Its likely not well understood, but if I were to guess, that’s really the puck that Apple was trying to skate to. Problem is that the ice is pretty thin around there.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Adam Halasz] “My thought about this: It will happen that we export DCPs from the grading software. With simple stuff it is already happening (commercials with 5.1 sound, short films). Nature of progress.”
Yes, someday Jerusalem.
(Chariots of Fire theme begins playing in the bg)
Titles fade up: Resolve XXX… not just Smoke, not just Mirrors…
All formats, All the time. Every “what were you thinking” kludge that an offline editor has duct-taped to a timeline because they didn’t know how the software worked…
The Living End.
Fade out.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Jurjen Versteeg] ” One clip is exactly the same length in both applications.”
Duration is one thing, actual time code HH:MM:SS:FF have to be exactly the same as well.
Can you “Force conform with selected clip?”
Can you deliberately import the source media you want to link to into the Media Pool and even drag and drop the clips into the timeline?jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Adam Halasz] “It’s just MXF and XMLs after all… “
I wish I could be that optimistic, but it is a little more complicated than that. For example, HTTPS ‘open source’ apparently seems to have some flaws in it after all, and similarly (but not exactly) the DCI recommended practice is being misinterpreted all the time. You haven’t received any after-hours, day-before-the scheduled-exhibition phone call from yet another supposedly compliant theatre server just out of next-day FedEx range that unless you come up with something in the next couple of minutes your show’s off, I assume. After that particular drive and version played a number of other festivals and theatres.
For example, naming conventions. There is a structure around that which seems to be based on FAT32 hierarchy… why, I don’t know, but many validation metadata examiners don’t check it. Because UUIDs are derived and internally cross-coded, its not something you can just revise in a text editor. It means a complete re-export. Ask me how I know this.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Ricardo Marty] “but can i ingest and work with prores on a win/pc or is it just output?”
Haven’t really tried it, but I got 1.87 million hits on Google with “ingest edit ProRes on Windows” as a search term.
I am really thinking about a Windows-based fourth suite to load up R11 when it arrives and then make that my first-in last-out workflow room. Pre-digest new incoming timelines in whatever format they arrive in, trouble shoot, reconform if necessary, pass along to the hero grade suite, and then when that is done, pass it back for mastering, versioning, and DCP/deliverables.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Tim Wilson] ” I have a feeling that traffic there will be going up soon.”
Great. Just what we need.
Then can I suggest a “sticky” forum simply entitled “RTFM?”
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Adam Halasz] “if there’s more than 1 subtitle file for 1 film (2 or more languages), what then?”
Sounds like you should be generating a DCDI (possibly out of Resolve if you insist) and then authoring the DCP in a full-featured application — next item on the agenda will then probably be KDMs and I for one don’t want to be tying up my grade suite outputting DCPs.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Jeremy Garchow] ” It should be a swan song for the Red faithful.”
You do realize that a “swan song” is the allegorical *last act* of a dying entity.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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Probably means something like language streams.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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In this case, the show is edited FCP7. The editor uses a simple soft-edge wipe, (I just have to remember to shutoff the alpha output in the Resolve timeline or the result is a half-black plate) so its just a completely normal, nothing-to-see-here roundtrip. Effect rebuilds itself in the FCP timeline.
Unless there is some kind of effect incompatibility between MC or Symphony that something like that wouldn’t survive the AAF rebuild, I can’t see why it shouldn’t work one-for-one.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.