[Manuel Wenger]

quite a bit late, but i made the same experience with the UltraStudio Extreme and 3D , they both wont work with 1080p25 or 1080p24 from an Epic Camera, but if you change to 720p50 it works.

Manuel Wenger
DP – Munich

Manuel Wenger
DOP / DIT / Digital Colorist
Munich – Germany

[Manuel Wenger]

Hi Bill, thanks for your advice.
Finally today i got the issue solved with the help of Apple Support.
It was a setting in the User Preferencesm and the problematic file was

com.apple.iApps.plist

it took some time to locate it but now i´m fine and FCP X runs fine.

thanks for your help anyway, and i hope this info can help if someone else is running into that problem

Manuel Wenger
DOP / DIT / Digital Colorist
Munich – Germany

[Manuel Wenger]

thanks for that information.

best regards
Manuel

Manuel Wenger
DOP / DIT / Digital Colorist
Munich – Germany

[Manuel Wenger]

thats great 🙂

thanks
Manuel

Manuel Wenger
DOP / DIT / Digital Colorist
Munich – Germany

[Manuel Wenger]

i think Sascha is referring to the LUT you can generate yourself on the ARRI website:
https://arridigital.com/technical/luts/live

If you´re in the postproduction section you can set the dimension of the LUT cube which is max.64 per side.

Manuel Wenger
DOP / DIT / Digital Colorist
Munich – Germany

[Manuel Wenger]

i copied the trim_lut0.dpx which you find at
Library/Application support/Blackmagic Design/DaVinci Resolve
in the media storage directory, so i can access it faster.

Apply your grade to this file and save it as Dan described it, works fine.

If you use any other application, like Framecycler, you can export .cube files and put them into

Library/Application support/Blackmagic Design/DaVinci Resolve/LUT

There are several LUTs in there and some predefined directories,
my experience is, that the .cube files need to be put into one of the default folders to work.

Back in Davinci you need to hit the button “update lists” in the config/Luts page to get the new LUTs available.

good luck
Manuel

Manuel Wenger
DOP / DIT / Digital Colorist
Munich – Germany

[Manuel Wenger]

This would really be a great feature.

Source mode doesn´t work in this case since there are transitions in the Edit which are not supported in the EDL so i thought i could grade the clips with handles and bring them back to FCP and add the transitions.
Without EDL export (ar any other smart suggestion) it seems I´ll have to rebuild the edit version by hand

Manuel

Manuel Wenger
DOP / DIT / Digital Colorist
Munich – Germany

[Manuel Wenger]

Nope, didn´t help. just tried that.
A support person from DaVinci just took a look at my Mac remotely and couldn´t find the issue.
One thing might be, that i have a nvida Geforce 8800 installed instead of the GT120 fur the GUI, but it did work before.
So, i´ll go and get the GT120 and hope that it solves the issue.

Manuel

Manuel Wenger
DOP / DIT / Digital Colorist
Munich – Germany

[Manuel Wenger]

Thanks for all your help,

We unfortunately found out that the offset is not constant, depending on which reel the material is coming from, 80% is offset +2frames, the rest +1frame as well as -1 frame, and about 5% is in sync.

The online material was captured with handles so we decided to correct the offset manualy.
which took us about 6hrs. About the time a recapture would have taken and still with the open question if everything is in sync then.

I

[Manuel Wenger]

I captured the offline material from the SD SDI output of the deck (AH-HD1200), into a Kona LH card as DV-PAL material. The Online Material is captured via HD SDI out of the Deck, i used firewire just for the slomos to use the built in FRC.

Yes, i checked the capture offset in the device control panel, and thats the funny thing, i get the same result if i put the offset on -2, 0 or +2. I use the Panasonic setting VITC+LTC, RS-422, using decl search mechanism. I renamed the setting so that i made sure it was selected for batch capturing, but it didn