Juan Salvo
Forum Replies Created
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thats right. though if your camera did time of day tc, the make new clip would work too.
online editor | colorist | VFX | BD author
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in User Preferrences. On Timecode Break… make new clip.
online editor | colorist | VFX | BD author
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sounds like you’ve got mixed frame rates still. Any cineform stuff in there? Do a search for “extents” in this forum, you’ll see a bunch of stuff. I don’t have an easy fix for you i’m afraid. Other than to suggest you retry transcoding your sequence. And if that fails… export a self contained file and use the edl conform method.
online editor | colorist | VFX | BD author
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Are you using mixed frame rates? Did you render out in the correct framerate (i.e. 23.976 not 24)? The extents error is usually related to the media framerate.
online editor | colorist | VFX | BD author
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Actually the motion template is probably a bad idea. I think I misunderstood your question.
Here’s a better idea. Instead of replacing English subs w/ burmese. Just do the Burmese on a new track. Copy one generator for the first clip. Then change the font in that. Paste in your first title. Then option drag that title with the font in Burmese over to the next title spot. There by duplicating the generator, then paste in the next line of text. Etc. etc.
If you’re willing to pay, you can purchase title exchange pro, from spherico (they have a demo) which will let you convert your titles to an stl, which you can open in a regular text editor, insert the burnese, then put it back in title exchange and generate an XML with new titles in the appropriate font. Then just paste those in the sequence.
online editor | colorist | VFX | BD author
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Can’t you create a motion template with a text generate defaulted to your desired font?
online editor | colorist | VFX | BD author
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I just had a bad experience with another new b. so don’t flip out on me. 😉
In my opinion the best way to bring in qts now is to use the AMA link & consolidate approach.
So given that your files are 10bit qt the approach I would take is to create a new project that matches your clip (I.e. pal sd) then create a bin, let’s call it “AMA” then go to file menu > “Link to AMA files” then select your source qt.
They should now show up in your bin. Then select them all and right click. Select consolidate/transcode. Now here’s where I can’t help you… I’m not sure if pal sd 10bit can just be rewrapped to “1:1 mxf” (this is consolidate) or if it needs to be transcoded to “1:1 mxf”. In any case the 1:1 codec is what you want to retain the full quality of the 10bit file. Unfortunately the DNxHD codecs only work in HD… Ergo the “HD” portion of the name.
After you transcode or consolidate (consolidate is faster if it’s available) you’ll have new master clips. Delete the AMA clips and use your new master clips to edit as needed.
Hope that help. Feel free to yell at me if it doesn’t.
online editor | colorist | VFX | BD author
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Hi John,
Glad you posted.
So in the other thread they discuss an online/offline type workflow. Where you do a 1 pass or just simple lut conversion, and then your edit, and then go back & do a final grade after you edit.
Another way is as I think you’re suggesting. Grading once and then using that as your master. This is a perfectly valid workflow for most projects. In fact the BMDCC allows you record directly to ProRes & DNxHD for just that purpose.
[john stewart] “If i shoot in RAW then take footage into DaVinci Resolve do final grading then output it as LUT 709 which I’m guessing that is a Prores file?”
So in DaVinci you would add a LUT to the raw footage, to get it into 709 space (709 is the standard HD color space), then you have your choice of codecs. Almost any of them really. The two most common are ProRes and DNxHD.
[john stewart] “Then I can open it up in FCP7 and edit is this correct?”
Yep, at that point it’s just a regular QT movie like any other.[john stewart] “What type of compression, and how heavy of compression is it?”
It’s whatever compression you choose when you export from Resolve. Could be very little or non, like Uncompressed or ProResHQ. Could be a heavily compressed offline codec like ProRes Proxy or DNxHD 36. The choice is yours.[john stewart] “so exporting it as a LUT 709 it’s no longer Raw file correct? “
That is correct. RAW formats (red r3d, or ARRIRAW for examples) are very processing heavy, and aren’t very good editing codecs. But they give you lots of options for grading. So RAW is good for DaVinci, not so great for FCP.You can choose to edit in prores (for one example) and then finish with those same files. Or you can edit in prores go back to davinci (or take your edit and raw files to a colorist) and then do a more detailed color correction on just the footage in your edit.
Hope that helps.
online editor | colorist | VFX | BD author
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I can’t be 100% sure. There is definitely a scrubbing issue with BMD, I do *feel* like the general performance is zipper with Nitrix hardware. But can’t be sure. This is strictly my opinion & nothing else.
You may want to check you’re running the latest 6.0.1.1 & most recent BMD drivers.
online editor | colorist | VFX | BD author
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Avid isn’t so much mouse and GUI driven as it is keyboard driven. That’s why sometimes on mouse action it doesn’t update the timeline so much, but rather updates the composer window. Just a different priority & one of the key differences with fcp and other nle. Do you have a 3rd party I/o card installed by any chance?
online editor | colorist | VFX | BD author