Kevin Cannon
Forum Replies Created
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Hey Nick,
Did you get this set up? I don’t remember reading about GPU-Xpander 4 when 7.1 first was released, so I guess it is too recent for Blackmagic to have officially certified it yet? Cubix seems very certain it works with Resolve but I’d be curious to hear your experience.
I’m also looking to put two double-width GPUs in the Cubix, which is why the 4 seems like a nice option compared to the 2. Are there advantages other than the extra width that you’ve found?
KC
prehistoricdigital.com
hardworkingpixels.com -
It’s the cable from disassembling the HDMI plate included with the decklink card, yes?
prehistoricdigital.com
hardworkingpixels.com -
YES. If you had asked me when I purchased the Ultrascope, I would have said that I expected the biggest advantage of it over hardware scopes would be that Ultrascopes would have a customizable GUI – adding and removing lines, guides, targets, zooming to many different increments. After all, it wouldn’t place any serious demands on the hardware…
But I’ve been disappointed that the Ultrascope doesn’t do more… even some interactivity or being able to draw custom markers, etc…
KC
prehistoricdigital.com
hardworkingpixels.com -
The Blackmagic folks hav been saying that mixing cards is not ideal; the load will be balanced evenly across all the GPUs, so faster cards may be handicapped to equal slower cards…
prehistoricdigital.com
hardworkingpixels.com -
A few months ago I wrote down a bunch of thoughts on how 24p HDRI cameras might work – it doesn’t provide a solution by any means, but be interesting to some…
https://www.hardworkingpixels.com/?p=29
KC
prehistoricdigital.com
hardworkingpixels.com -
I wrote this out and then saw Vladimir posted, so excuse the redundancies:
“1. I couldn’t figure out a way to have both my new project conform on the left and my reference video on the right scrub together.”
If the offline clip was added to the media pool as an offline clip in the browse page, and selected as that timeline’s offline clip in the conform page, they should both scrub together when you scrub across the upper timeline – you don’t even have a separate scroll bar. If you do have a separate scroll bar for the right window, you’ve toggled the right window into “source clip” mode. Just right click in the window and hit “toggle offline/source clip” and it should behave exactly as you want…2. for REPOS and PANS it is really difficult to sometimes match the offline reference clip to the new media, since all REPOS and RESIZES are done in the COLOR AREA
If you have your offline clip synced correctly, in the color or format page you can enable the wipe, then toggle wipe mode from “gallery/still” (the one most people use most often) to “offline” (in the color page you can see your current mode in the bottom left) and you will be able to wipe back and forth between your offline and your online. Even better, you can change the wipe shape to “mix” and control a A/B blend, and line it up exactly…
DPDecoder.Count = 0
This is solved in an update prior to 7.1, I believe. I used it for a different issue though so let us know what version you’re using…
That was fine since NUKE can deal with frame numbers as timecode, but I couldn’t figure out another way to export the DPX sequences? Is there another way?
In the render window you can select “target” or “source” mode – target will output with your timeline timecode/frame number unless you change it with the “start recording at” function. But if you just want to output the same source timecode to facilitate the round-trip, then select “source” mode and it will render with the source timecode. This should also be handy if you take the “reconform from folders” approach…
2. Also why can’t I replace a clip in the CONFORM?
There’s a nice under-explained function called “re-conform from folders” (in other words, the manual isn’t very detailed and I haven’t played around with it yet), where you put all your clips to be sent out for VFX into a folder in the media browser (called, say, originals) and put all your final composites into a folder (called, say, comps). Then right click in the conform timeline and select “re-conform from folders” and select the folders you want to use at this moment…and it will replace all the shots at once, assuming they have the same source timecode… I think there’s also a way now to drag and drop individual shots to replace a shot, but I haven’t gotten to that either.
1. A lot of my DPX sequences timecode was off, like almost 1/2, It seemed like a bug
A number of other folks and I have been having issues with “target” mode rendering DPX (and especially quicktimes) with incorrect timecode and filenames, with or without using the “start recording at” piece. Check if those clips were rendered out from Davinci with functional but incorrect file names… I haven’t updated to 7.1 so I’m hoping it’s been worked out.
keyframing was a mess
Yup.
Is there anyway to automatically keyframe the POWER WINDOWS?
There is an Auto Keyframing function that you can turn on (it’s a square next to the lock of the each node in the Dynamics window) but I’m not sure offhand if it will autokey every handle and point on the Bezier curve or just the TRS of the CPWindow…
Hope these help,
Cheers,
KC
prehistoricdigital.com
hardworkingpixels.com -
If you\’re looking for a camera that gives you extremely high latitude, recording in a format that preserves the high bit rates, in HD or higher resolution, with a form factor similar to other digital cameras, the closest I\’ve seen is a prototype that Sphereon VR showed at Siggraph:
It has its own issues, most notably that there are no helpful workflow tools to take 32-bit (I think) HDR image sequences into video tools (NLE, color correctors) that only deal with 8 or 10 bit video…
But as was mentioned, the existing best option is to find the camera that will capture a high latitude and write it to a proper video format, like RedRAW, ArriRAW. None of these existing cameras can capture true HDR at 24fps to my knowledge, so it depends on what exactly you need to accomplish…
prehistoricdigital.com
hardworkingpixels.com -
Thanks Luke,
I\’ll definitely post my findings as I try different arrangements. I\’m thinking two 285s in the cubix for DPX and stereo DPX, and swap one 285 for a Red Rocket when necessary… However if It turns out that one 285 in the Mac and one in the cubix is valid, I would have enough room that swapping won\’t be necessary…
prehistoricdigital.com
hardworkingpixels.com -
I notice in the Mac configuration guide that it says it is best to put all GPUs in the expansion chasis… which in the case of 2 GTX 285s would mean you don\’t get to take advantage of double-high slot 1 in the Mac. How necessary is it to put the GPUs in the same chasis, and that it is the expansion chasis?
prehistoricdigital.com
hardworkingpixels.com -
Happy to send along my Calman .pdf report for a vt25 calibrated last week – what e-mail address should I forward it to? (I’d post it but I’m on the road and limited to the iPhone…)
KC
prehistoricdigital.com
hardworkingpixels.com