[Mark Thompson]

I have the free version. I am using 10 bit media. It is XAVCI which is a professional format, whereas H.264 is usually considered a delivery format although I could see how AVC might be considered descended from H.264.

I looked on the linked list and could spot a decode restriction here ☹

https://documents.blackmagicdesign.com/SupportNotes/DaVinci_Resolve_16_Supported_Codec_List.pdf

[Mark Thompson]

In the ‘about anywhere’ category there is Cinelab, near London, England.

https://www.cinelab.co.uk/about/

They gave a really good presentation at Procam’s Media Technology Day. They also seemed to be keen on the lower end of the market, e.g. commercials and some competitions. I forget the name but there’s a competition where you must use one reel for your whole film (no edits allowed).
I believe they have a range of scanners.

Probably too far away for you but if you really need to get it done…..

[Mark Thompson]

thanks, makes sense

[Mark Thompson]

I’ve a similar rig, my expectation is that nothing would be in sync and that would be my job to put it in sync as a multicam sequence. I like to slate.

It’s not clear whether you are shooting multicam or you are just creating a sequence from different cameras?

On the new FX9 Sony are making a big deal out of being able to support Genlock and timecode, which you would have had to buy an XDCA on the FS7.

I probably don’t understand your configuration.

[Mark Thompson]

I’ve had trouble getting HEVC/H.265 to work at all, even in the 2019 version. It seems to be quite snappy on the 2020 version. Big improvement from my perspective.

Also has HDR10 capability between PPro and AE. Looking forward to trying that out but haven’t done yet.

[Mark Thompson]

Hi,
you may have hit a limit that has not been documented. I would just collect what information you can and report to Adobe.

Have you tried using adjustment layers yet? If you have several clips that could all do with the same color adjustment. You can have the layer span some or all of the clips. I mainly use this now rather than have lumetri on every single clip.
Note an adjustment “layer” does not do the whole layer. it creates a few seconds worth and you stretch it out as required.

I read somewhere that Adobe are not yet recommending going to the very latest Mac OS. I have upgraded and have found no problems BUT neither have I done very much since the upgrade. In fact Apple seem to have have re-issued the release as recently as thursday 10/30/19.

[Mark Thompson]

Hi,
do you get a choice of FAT or UDF on the EX series (for formating the SxS) ?

I know this doesn’t help but it may give you an option if things get urgent. I use the SBAC-US20 with 32GB SxS-1 formatted as UDF. I have a 2015 MacBook Pro with the very latest (Catalina) OS and it works very well. Of course that’s a USB connection.

So the problem is probably not the SxS cards but the mix of technologies after that.

[Mark Thompson]

I have a bit of clarity on stems. It stands for STEreo MasterS, from Cado Belle “the purpose of which is to supply premixed music beds with fx to music editors or dubbing mixers when putting music to film”.

However I’ve found confusion, particularly on Audition. There is confusion between stems and tracks, sometimes the words are used interchangeably. When Audition is sending stems back to Premiere it calls them a “track” (even though it contains multiple stems).

[Mark Thompson]

have you had a look at the “essential sound” panel in the latest PPro 2019 ? It seems to do well, certainly compared with beginner level on Audition

[Mark Thompson]

someone else complained about SxS support on Mac recently.

I formatted my SxS-1 cards to UDF some years ago. I did have to upgrade both drivers, there is an additional UDF driver.
Which SxS cards do you have ? What format are they in?