Michael Gissing
195
COW Coins
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DaVinci Coins
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Solve Coins
Forum Replies Created
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I downloaded a version years ago and never used it. I’m so comfortable with the Resolve ecosystem I don’t think I’ll kick the tires on this version. Good on them for sticking to their software. I do know there are serious fans out there but they are not in my circle of colleagues.
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I don’t understand the false economy here. Best quick solution is to buy another license pronto. XML is not complete compared to importing a project. Try exporting just a timeline as there may be things within a project that won’t translate. Also I presume you are both on the same version (ie 17.2.2) even though one is Studio.
The price of a license is a couple of wasted hours and unlocks a whole lot of other goodies like NR and more OFX plugins.
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Showscan was 65mm shot, 70 mm projected at 60fps. I worked on a Showscan production in Australia in the late 1980s. An unblimped camera running 65mm film @ 60fps sounded like the loudest dentist drill. The camera op had to wear industrial earmuffs. I was recording sound (wild) of a bagpipe band two city blocks away just to not hear the infernal machine ramp up to shoot speed. Insane but astounding images.
Trumbull’s research was that above 50fps was the sweet spot and 60 being 2.5 x 24fps was the logical rate. I found it interesting that 48fps was chosen for The Hobbit which made sense for a 3D image, although I remember the howls of disgust when traditionalists thought it looked like ‘video’. I think higher frame rates are a good idea with 3D. In fact Trumbull went on to develop a 3D 4k system at 120fps called Magi.
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The RTX 2060 will perform better than the 1660ti. Neither have enough VRAM to comfortably handle 4k files. The CPU differences are less consequential so given the similarity, I would get the better GPU.
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If you add a node after you have pushed the highlights past 100 and then add the Gamut Mapping OFX plug in, it will clip the highlights and subsequent nodes will not be able to recover the highlights. There may be other OFX plugins that do the same but that one is simple
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The built in Warper OFX plugin in Resolve Studio does this. You overlay a mesh and grab it and distort to your hearts content. Plays in real time on my machine.
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I have a couple of presets that I’ve created to reset a lot of those settings when projects arrive from other facilities. Saves going through a lot of settings to find the problems. Also when setting up new projects it is really helpful, especially where caching & renders go and what codec, as well as all the Decklink settings
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It would be handy if you can screen shot the setup page so we can see. I think you have the monitoring set to dual link. Try single. Also there may be other mismatches going on between the timeline setup and the Ultra Studio output.
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I’ve not had issues with spanned clips but this is the classic combination of camera makers like Canon and Sony creating duplicate clip names on some of their cameras. An editor needs to pickup that there is duplication and and add a prefix or suffix to makes each file name unique before they edit.
Renaming inside an NLE causes further confusion and pushes the problem to the post people who will always have to deal with it. Working with cameras that don’t create these duplicates and editors who understand workflow, xml transfers are rarely an issue for me.
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Video tools unlike Photoshop are expecting a video color space like Rec 709. The tiff sequence has probably sRGB which needs to be transformed. I don’t know the software you are using to create the tiff sequence but check and see if it has the capacity to output the correct color space for the software you are editing with.
If it can’t then on the color page use the Color Space Transform OFX plugin in your first node to convert to Rec 709 from whatever it is. Photoshop should be able to let you know what the color space of the tiff’s are if your C4D R21software gives no indication.