Kevin Cannon
Forum Replies Created
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Hi Rob,
In the case of either the iMac or the MacBookPro, you would want to use the thunderbolt (maybe USB 3.0?) connections to connect to a video interface device, like Blackmagic’s Ultrastudio 3D or Mini Monitor. You can’t rely on the GUI for any kind of critical picture evaluations.
I haven’t seen it in action, but the new Mini Monitor seems to give you a 10-bit SDI and 10-bit HDMI from Resolve. Not sure if it’s supported yet, but that would be the cheapest option.
Cheers,
KC
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Hi David,
I believe that is the error message that you get when Resolve can find the file referenced and import it to the media pool but can’t link a clip on the timeline to it, because Resolve believes that the timecode of the timeline clip isn’t within the range of the clip in the media pool…
So I would check that the clips in the media pool have exactly the start and end timecodes that they should (matching the camera originals) and check what the timecodes are listed for the clips in the timeline…
It could be anything, but likely either that Resolve isn’t reading the media pool clip timecodes correctly, or Premiere isn’t writing the XML with the right timecodes…
KC
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Hi Joel,
My guess is that the single 680 is not the problem- I tested a Mac Pro with a GT120 for GUI and a single 680 for GPU processing, and the GPU held at 24 fps for up to 12 blur nodes (using Sacha Haber’s standard candle test). The GPU power could be coming into play if there is a lot of scaling or other GPU-intensive operations, but I don’t think that’s the most likely. Usually the GPU only really gets to work when you are adding grades.
Have you confirmed that your drive or drive array is capable of playing back the media at full frame rate? using a lightweight files (like a DNxHD36 or ProResLT codec) at the same resolution would be one way to test this, in addition to a speed test app.
Otherwise, it’s possible that your CPU is not capable of decoding the media at the full frame rate. Using a format like DPX that isn’t CPU intensive would be one way to test this.
Cheers,
KC
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Hi David,
I think a lot of folks here at all levels of experience would recommend Alexis Van Hurkman’s Color Correction Handbook as a good survey of technical (but software agnostic) and artistic considerations. Steve Hullfish’s The Art and Technique of Digital Color Correction is similar in scope and has been updated recently (I haven’t read the update, but I like the sound of the interviews). Those might be more broad or procedural than what you’re asking…
If you want to speak better in cinematography terms, maybe American Cinematographer Magazine, Alex Ballinger’s New Cinematographers, and Benjamin Bergery’s Reflections. If you want to think more in the metaphysical realm then definitely The Light.
Also Ansel Adams’ The Camera/The Negative/The Print are quite relevant given the workflow of digital cinema cameras.
I also liked Skin, which is specific but important.
Not sure which of those are the answer to your question, but all worth a read.
Cheers,
KC
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Thanks, now that you mention it I see the 4:2:2 limitation on the 4K output… making things a little farther away from a useable 4K mac set-up.
So trying to understand the configuration of a Linux set-up, I’m still unclear on which video card is responsible for the 4096×2160, 12-bit XYZ (can’t find the combo listed in the Linux config manual).
Cheers,
KC
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I hope that becomes the case, but the current specs listed on the Decklink Extreme 4K max out at 3840×2160.
KC
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Hi Robert,
I think the command you are looking for is “import additional clips with loose/tight filename match.”
Once you import an XML and point it to the first drive/directory (and half the clips are missing), then right click on the timeline name and select “import>additional clips with loose filename” match to select another drive/directory. It will use the original XML and look in that folder, adding more media to the media pool.
Cheers,
KC
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[Robert Ruffo] “Red’s color problems are long gone. Use RedColor 3 with an MX chip and you will see no skin tone issues whatsoever.
Strongly disagree. Working with Scarlet and Red One MX today, and I see all the problems I described with all set to RedColor3. And the director sees it as well. Fortunately we have time to work.
c300 is for people who are not smart enough or too lazy to learn the simple methods of grading Red footage.
I don’t pick the cameras, or own any. I’m not really worried about their reputations either. I’m happy to grade any of them. When the ASC and producer’s guild did their single-chip camera shootout with the MX and the Alexa and others, they timed how long colorists took to to grade the digital cameras to match the same shot on 35mm. Red took longer to match than any other single-chip cinema camera – I don’t think they used lazy or stupid colorists. So even if the methods are simple (debatable), they are time consuming. Personally, I think Red is slightly more complex to grade than the other cameras, and in a way, has helped colorists become indispensable over the last 5 years, injected some fresh blood into the post production market, and forced other companies to accelerate their digital cinema offerings.
But it doesn’t have to be my favorite.
KC
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Hi Todd,
We just encountered a similar situation, but our issue was that when the file was hosted on our file server, concurrent downloads (concurrent uploads for us) became frustratingly slow.
We’re using filesanywhere which operates similar to the other services, but has no file size limit (like the 2GB mentioned above) when you transfer via FTP. Similar pricing per GB, but we often will have one or two files that are larger than 2GB. And plenty of options in terms of tracking downloads, prefacing downloads with agreements, etc.
KC
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Hi Jesse,
Not in front of a workstation right now to check – but I think that this gets set in two different places: In the Resolve preferences you can set the main working volume (the “first in the list”) and then in the master project settings there are the three text fields, where you are basically specifying subdirectories that will be created on that volume.
So if you wrote a volume into the path in the project settings, you might have created the problem that way. Probably start be resetting those to the default.
KC