Joseph Owens
16
COW Coins
16
DaVinci Coins
Forum Replies Created
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There’s no way you are mixing standard DVD and BluRay approaches and burning to DVD instead of BluRay media? Random freezing sounds like there is a data transfer bottleneck.
I know that there is some advice out there that you can burn small BluRay projects onto DVDs, but it is a recipe for disaster.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Shane Ross] ” downward move.”
Probably true. There will be no memory advantage, that’s for sure. You will have more options for better GPUs, if you decide to come closer to the current offering there, and better storage/data throughput with the MacPro… neither will be eligible going forward for the latest OS’s.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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Backup your V9 database/s!!!!!!!!!!!!!!!!!
Download the package from the BlackMagic Resolve support website and click on the installer when it unpacks as a .dmg. That’s it.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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There is also a feature set that none of the graphics or consumer monitors offer that is well outside a hobbyist’s requirement and beyond the default requirement for OOB accuracy.
On-screen displays for out-of-gamut, even color pickers with RGB value display, SDI audio dis-imbed with phase and VU metering, programmable hash marks, safe-title, safe-action, 4×3 extraction zones, scopes… long list of value that are a complement even if you already have outboard scopes.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Marc Wielage] “I’d like to see Blackmagic follow Adobe and Avid’s lead in providing paid support — maybe by subscription or by incident — so there’s always somebody there on the phone, 12 hours a day. “
Oh, why do that when there is the COW? [insert cow/cream aphorism here.]
I agree it would be a better beta-feedback path with direct contact involving problems that users are encountering on a day-to-day basis, but we also have to consider that the software development team, possibly the ones who would be fielding the trouble-line, are not necessarily colorists, but code engineers. So, yes, we have to acknowledge the “star chamber” of advisers that are helping to stickhandle the features, but as Juan so aptly put it, not many of them require the training wheels anymore, and are looking for productivity over intuition or automation.
What sorts of issues are repeatedly looked after, especially in the public forums? Overwhelmingly they are round trip handoffs involving codec, frame rate, resolution, interlace, almost drowning out the amount of actual corrector features, including “how do I create this look?” and “if this is so great, why do I have to do anything?” or “why didn’t all my NLE-centric filters and effects come back the way I expected them to?”
Still need the crash dump, XML, AAF, machine configurations, operating system, [more degrees of freedom than an anthill…]
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Sascha Haber] “Dont know if BMD has access to early models, “
My understanding from the Grant Petty releases around the time of the MacPro update is that they did and were “excited”.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Rick Turners] “Curious of your thoughts.”
Don’t know whether you are a facility owner (financially involved) or not, (I wouldn’t post this on the Blackmagic site)
https://www.filmlight.ltd.uk/store/
might answer some questions about how desirable the software is from an investor point of view… just in case all you want it for is sky replacement. There is a 14-day free trial, if you’re really curious.Otherwise, there is a comparably-priced (to Resolve) Baselight plugin for the major NLE’s that calls a window into being, so you can operate on your commodity platform. In which case, I would expect to be executing the composite within the NLE, depending on whether you are building it with a plate or just making the existing sky bluer. Full license, you are building a dedicated hardware system. The Blackboard makes it go, just like the DaVinci panels make Resolve go.
Conceding the point that more demands are being made in the direction of cross-purposing image-processing applications, be careful what you wish for.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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What codec is your sequence base?
What codec is your media?
Do you have any illegal characters in the media names?
What is the resolution of your media?
Do you have any media over 4K in dimension?jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Sanjin Švajger] “I know there are a lot of compromises made here,”
The ones your clients are willing to make?
The BlackMagic video I/O interfaces on the market; Decklink, 4K, and their outboard solutions which are Thunderbolt compatible would check off the most boxes you have on your menu in terms of interoperability between all the edit and grade applications that you want to support.
Nothing is future proof. Monitors are changing all the time, so it really comes down to what you think you can amortize quickly. So I’m thinking the new Canon 4K probably isn’t on your shopping list, either.
Raising the issue of DCP creation here is a little confusing, as it is quite a different environment, and not just another Quicktime as so many non-conversant individuals seem to assume. If the 17″ Flanders won’t cut it for what you’re doing now, even a large Plasma won’t be doing it for you when it comes to cinema-sized projection, and very definitely not when it comes to XYZ space.
I do know of grade suites that have a plasma monitor, but they only use it to demonstrate that a down-rez to Bluray or HD will look “the same”… and of course that thing is scrutinized on a daily, not a sometimes-rental basis. There have been a number of discussions on this and other fora discussing the non-suitability of plasma screens for use as a primary, critical display, not the least because they all implement some kind of auto-dynamic contrast as a consumer image enhancement. In other words, you can never trust them to be reproducing the correct black point, or contrast. Even though they do make a lovely, colorful picture otherwise.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Erick Wilczynski] “Do any of you have any advice for fixing the green? I know it should’ve been minus greened on the day but the crew wanted to roll on it anyway.”
If it is in a mixed light (various principle sources of different colour temperatures) situation, then you have a secondary-qualification type of problem. Ordinarily you DO NOT fix this on set or in dailies and you leave it to the final grade, so that you do not hoop the finishing colorist.
Someone probably uttered the phrase “fix it in post” as if they had the budget for it. Your circumstance is described as NO/LO, so maybe they are expecting you to grade their project on-the-fly… not ideal.
An overall balance, auto or not, will not fix this issue because there may be elements in the scene that you do not want to affect.
If you are committed to pre-grade the shot, then a secondary qualification might give you enough separation to leave those other hues alone, and only affect the “pronounced” green. Otherwise, you are skating on very, very thin ice.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.