[Joseph Owens]

[Gus Howard] “The festival requires a DCP with 5.1 stereo. “

5.1 “Stereo”? That’s a new one. So, maybe they just want a 6 point/channel DCP package, but aren’t specifying if only the L/R channels need to be filled, if what you’ve really got is a 2-channel stereo mix. Which would also be acceptable within the DCI description, but there is a lot of confusion out there, obviously.
Filling all the surround channels with L/R doesn’t sound like a great plan, since the C./Lfe channels need to be mono, and have a different mix-down and frequency domain. Maybe your DCP post house is offering a fake Surround.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

[Juan Salvo] “There’s always the Dolby Reference Monitor, PRM-4200.”

You’re going to hear from the moderators about that one.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

[Jordan Mena] “Boland HDMI 32″ broadcast monitor.”

Have to admit I needed to google it. Doesn’t get discussed much, and no one is claiming it to be a grade-class device. For the price, another $600 bucks gets you a Flanders 2461 (which is a grade-qualified display) with: SDI inputs, DVI, etc., all the on-screen scopage and audio displays that you could want, plus a commitment from the manufacturer to keep updating the software and a general obsession with getting it right.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

Are the transitions on the DaVinci timeline? it should render through the transition extents.

If they are not, then DaVinci won’t consider the “outside” selection part of what you need. In fact, you should create a “handles” timeline, so that you don’t get spurious keyframes inserted into the overall source clips.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

[Fabio Basone] “Do i need to re-sample the resolution at all, as they’re both 16:9 natively? Could i work with 1280×720 and 1440×1080 (assuming i’ve converted both to the same .mov format) on the same timeline and then exporting?”

First of all, your 1440×1080 is not native 16×9, it is an anamorphic format ->16:9 in a 4:3 container, whereas the 1280×720 is. Conflict right away.

Final Cut Pro 7 will not be happy with either the AIC or the AVI, so re-scaling up or down is what you will want to do, while you get the media into some kind of intra-format that will let you edit without a lot of renders and beach balls. What is your final destination format? That will determine which direction to go.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

I’m with raf and shane, but what might be closer to the truf is maybe what your client wants is a “wide screen” (which is what you’re going to get at 853×480, the math is 1.777777, or 16×9) 4×3 “center cut”, which will throw away the left and right sides of the picture, the portions lying outside the normal aspect ratio 4:3.

Why someone would want to do this is the other question… but its a crazy old world.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

resolve’s bilinear uprez is generally pretty good. It would be worth the effort though to try a hardware conversion, Teranex an obvious candidate, but also a play-through and capture (if you have more than one system) using a Kona or Decklink, which are also surprisingly good.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

i recently purchased a Teranex 2D because I simply got fed up with so-so software conversions that took days sometimes,but certainly even for clips that have been pooched by – lets just leave it at – “other processes”.

its as good as it can get, and best of all, no waiting. Sometimes even the on-card conversions that are available on AJA and Blackmagic I/O devices are going to be visibly superior to the most time-consuming “best” settings in the majority of software applications.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

If you mean ‘apply the new correction to all the shots that it was previously applied to’, it would have been better to link them with some kind of signifier, like a flag, or to have separated them out onto different layers… created a group, those sorts of approaches…

The physical reality of grading a project over the span of the project is that one specific correction is unlikely to take care of every occurrence of a clip or situation, and is, to a certain extent, the dangerous part of linked clips. If you start tweaking at one end, it is more probable that different tweaks will likely be required as the show progresses — it is almost a law of diminishing return that the closer you are to having a uniform grade, the more obvious the small differences will become, necessitating tweaking the tweaks. Its what happens in any grade session. More often if you are charging a flat rate.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

Can you post this in the Configurations and Basics forum?

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.