[Mel Matsuoka]

As I mentioned, this problem also occurs on AJA Kona3 hardware.

[Mel Matsuoka]

Holy crap, this is awesome. Totally vindicates my decision to switch from FCP7 to PPro. instead of Avid!

But I’m still not clear about a huge annoyance that exists in CS6: Does the “next” version or PP allow you to finally “Assign Source” in the timeline using a keyboard shortcut?

[Mel Matsuoka]

Thanks Ola,

It never occurred to me to not install the JLCooper drivers, but indeed, this was the problem! Once I uninstalled them, rebooted and reinstalled R9.1, the panel now connects as expected.

What I dont understand is why the setup guide tells you to install the JLC drivers in the first place, if they are obviously not needed by Resolve, and as is clear now, actually interferes with Resolve?!?

Oh well, at least I got it working. Thanks for the heads up.

[Mel Matsuoka]

I respectfully agree with Walter 🙂

Archiving important data on self-burned optical discs is a very bad idea. They’re okay for short-term archiving, but if you expect to restore that data in 5+ years without any errors, don’t count on it.

I love to tell my story about the time I spent a whole weekend transferring my old CD/DVD-R “archive” discs to an external hard drive, and discovering that nearly 30% of the discs would simply not read anymore, despite being in physically flawless condition. Many of these discs weren’t much older than 4-5 years. too.

LTO tape is designed for mission-critical archiving and backup, and is well worth the initial investment in the tape drive. Backwards compatibility with prior tape generations (up to two generations prior to whatever your current drive is capable of) is part of the LTO spec, so it’s reasonably future-proof. There is a good reason why banks and hospitals use LTO, and if they’re good enough for those types of applications, then it’s definitely good enough for archiving my clients TV commercials.

Regarding the speed of LTO, I’d agree that relying on tape alone for both archival and backup isn’t very practical if you find yourself constantly pulling old projects out of the archives for client modifications. For this reason, I use a hybrid tape/harddrive archival system. I archive the same data to both a “bare” hard-drive (using something like an eSATA/FW800 hard-drive dock like the Voyager Q), as well as an LTO5 cartridge.

When both sets of data are backed up, I take the LTO tape offsite and keep it at home, in case my office burns down or is vandalized by zombies. I keep the bare-drive archives on-site (storing them in anti-static boxes, like these ones from Wiebetech), so that when I need to quickly access old project files, I can mount them in a drive-dock and use them as a quasi-“near line” archive source.

This method works very well for me, as it strikes the perfect balance between speed, economy, redundancy and longevity.

Whatever archive system you implement, in my hard-learned opinion (In 2007 I lost a “backup” drive containing 2 years and over $100,000 worth of client projects), it’s more important to concern yourself with redundancy instead of which actual method you use to actually archive your data. For example, if you go with Tom’s BluRay method, you need to make–at a bare minimum–two verified, physical copies of each disc, and preferably keep them in different physical locations. If you only archive to external harddrives, then buy at least two harddrives––one for each redundant set of data.

[Mel Matsuoka]

Wow, thanks for calling this out. This is definitely something that drives me nuts on a daily basis. I think making the skintone range default to the center of the graph makes perfect sense, since I would guess the #1 use-case for Hue Curves is tweaking skintones.

But it would make more sense to be able to dynamically “pan” the hue range, so that you can focus *any* hue range within an optimal place in the window.

[Mel Matsuoka]

I sent the following email to BMD in response to a bugreport I had submitted regarding issues with documented, yet non-functional JLCooper Eclipse mappings. BMD responded that there are no plans for making changes to 3rd party panel mapping in the near future, and that that stuff is “lower on the priority list”.

This is sort of what I feared with the changing business model of Resolve, where it appears that the strategy is to make the “Lite” version the “freemium” gateway drug for selling the BMD Cinema Camera (as well as Decklink cards), and not necessarily to support established, independent working colorists with existing investments in 3rd party panels.

Thanks for the response,

I definitely understand the dilemma you guys are in regarding 3rd party panels. But I have to say that as awesome as the changes in v9 are, I feel that a HUGE amount of accessibility and functionality (keyboard shortcuts, in particular) have been removed which made working in v8 so fast. Resolve 9 is just slower to work with, now that a lot of critical functions have been moved to fly-out menus or panels with no keyboard shortcut mappings.

The obvious conspiracy theory regarding all this many people have (including myself) is that R9’s accessibility & control options were intentionally crippled in order to drive the need for power-users to purchase the full Resolve Panel. But the reality is that a huge majority of your professional userbase (and I’m talking about paid users of Resolve, not the freebie Lite users) simply cannot justify $30000+ for the Resolve panel, especially since the release of Resolve Lite to the masses is causing the perceived value of our hourly-rates to be much lower than it was before the availability of Lite.

If you’re open to it, here are my suggestions:

1) Make a “middle tier”, higher-priced version of Resolve–$3000-$6000 seems reasonable–that has support for fully customizable 3rd-party panel and shortcut mapping. This way, colorists like myself who could never justify the cost of the BMD panel, yet already have investments in 3rd party panels and want to be able to have more power with them than the current Resolve mappings offer, can have more comprehensive control options. Seems to me that there is probably enough of a market for people like me who need more accessibility, but could never afford the BMD panels, that you’d sell way more licenses of a higher-priced version of Resolve than you probably do selling the panels at $30k a pop.

2) Open up an API for 3rd-party control surfaces. This would shift the burden of 3rd party panel support to the panel developers themselves. Make ’em pay for a license to access the API docs if you have to. I have a set of Tangent CP200s that’s now collecting dust on my shelf because Tangent *cannot* support these panels with Resolve, even though Tangent Devices has explicitly stated that they want to be able to support them. Quite frankly, I’m not a fan of the physical response of the JLCooper panel, and wish to God I could use my silky smooth CP200 panels instead. I would be more than willing to pay $3-5k for an “enhanced” version of Resolve that can be controlled via a 3rd-party control-surface API.

Thanks again to you and the rest of the Resolve team for all your great work. All gripes aside, it’s truly amazing how far you guys have taken the software in the short amount of time it’s been under the BMD roof.

Thanks and Aloha,
mel

[Mel Matsuoka]

[Eric Johnson] “Has anyone encountered this issue on 9.0.3 and 10.7.4 (if it’s not .4 it’s the version directly before 10.7.5)?

I tried a bunch of stuff this afternoon and can’t get a connection…”

It’s too late for me to test it on 10.7.x, but for what it’s worth, I can say that 9.0.3 definitely fixed the communication issue for me on 10.8.2.

[Mel Matsuoka]

[Steve Shaw] “For HDMI connections the eeColor LUT Box is good.”

Hi Steve,

Any updates regarding the use of the SpectraCal ColorBox version of the eeColor box with Lightspace CMS? I know you were having issues getting it working right before?

[Mel Matsuoka]

Jake is basically asking the inverse of what I’m looking for. In my case, I want the modified R3D metadata in the saved grade to completely overwrite whatever original R3D metadata is on clip I’m pasting the grade to.

My problem is that I cant get the saved grade to do that. Oddly enough, it’s basically behaving in the exact manner that Jake wants.

[Mel Matsuoka]

I think you also forgot to add:

“And please continue to keep this amazing CC software free/cheap”
“Remove all brown M&Ms from the candy bowl”