Marcus Smith
Forum Replies Created
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Hi Dwaine,
As most of us use shortcut editors that allow us to map complicated keystrokes to a single button, a combined key stroke such as alt – 9 or even shit – alt – 9 etc is easy for us to map to a piece of outboard gear or single button.
Alternatively having it as a selectable menu item is also something we can map using shortcut editors.
Having the ability to add flags as the program is playing would increase productivity during long screenings as the colourist wouldn’t have to stop every time there is a note from the client. He or she could just tap a key as a note / concern is being raised then return to them later. Having a shortcut / menu item for “go to next flag” and “go to previous flag” would also be a fantastic time saver as well.
Thanks,
Marcus.
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Want to report the same issue here. Especially noticed significant extra grading latency between making an adjustment and seeing it on the screen. We’ve rolled back as well.
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+1 for this.
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Hi Bret,
We’ve been using 23.976 playback fine on the blackmagic decklink.
Sound sometimes goes out of sync, but it does work. Just. 😉
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Remove the directory in resolve, restart your machine open resolve and then add the directory again. It should remove the _1. If the doesn’t work check to see what’s happening with the raid using disk utility. Something is hanging on to the old alias.
If you’re under the pump and things are stil working duplicate or backup your project (for protection only), and then remove all the media in the media pool and then add it again with the _1 volume. If you’ve been diligent with your media management things should relink fine.
Good luck!
Marcus.
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Firstly I’d strongly recommend you to move to CS6 if it that’s possible. Round tripping in Premiere, amongst many other things, works a lot better in the new version, but you may be ok with CS5.5.
In regards to the Red, I would convert all the footage to pro res 444 using something like Monkey Extract. Epic footage requires a lot of processing power and I feel you would have a bad time of it given your listed system specs.
If you want to get all the access to the dynamic range the Red footage offers convert all the footage to the Red Film Log gamma curve during transcoding. Your footage will come in looking flat and you’ll need a LUT in Davinci to convert it back, but the benefit of this approach is that you’ll have an incredible amount of range to work with. It’s also a better work flow when working with R3d natively, as making operations pre lut can yield more natural looking results.As for the 5D, prepare for the worst. Depending on the camera your 5D TC tracks ay are not read properly in Davinci. Fortunately there are workarounds, but they all involve transcoding the media and re-writing the TC track.
Cheers,
Marcus.
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Yes, davinci will force one frame rate upon everything. To ensure you have a frame accurate conform I would change everything to 23.98 and check it in fcp before going out to davinci.
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What version premiere are u running?
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Do you have access to the QT files used for offline? If you do you should verify the frame rates are correct and the TCs match up. Again this is a lot easier to do in a system that can read the r3d files directly. Maybe download redcinex and check in there.
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Sounds like your 5d TC track is corrupt. Happens quite a bit.
The only way I know to fix it is render out your source material In Davinci, retaing the source TC.
Link this clip back in FCP and resend to FCP.Regarding your TC problem, it sounds like your Davcinci frame rate in the project differs from that in your XML. Do you have premiere CS6? Its a lot easier to fix these issues in that program now. I would check it in there if you can.
Cheers,
Marcus.