Michael Gissing
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COW Coins
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DaVinci Coins
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I note Resolve isn’t on the beta list. Nor Avid.
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[Oliver Peters]”Hmm… I didn’t see any more weave in the 16mm than I’ve seen in order 16mm material”
I was referring to the fake weave they put on the title and credit cards. The actual 16mm is fine.
I’m sure the camera shake and jerky moves were by design. However they are not based on the actual reality of shooting doco. It’s a faux doco exaggeration which annoys me.
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Interesting article. Oh to have the budget for nostalgia. Apart from saving money in the final grade, shooting on film must have added a large cost. I’m not sure I understand why apart from just wanting to.
I always wonder why film makers don’t get a doco camera person to film so called reality scenes. We really don’t shake and wobble that much. Also modern telecines don’t have that much weave. Thank goodness they didn’t add scratches or edge fog.
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Spare thought for us poor Australians who have crap internet. Last I looked we had slipped behind Mongolia and Kenya for internet speed and affordability. All thanks to Rupert Murdoch buying our government and having them take twice as long, spending more to reduce our broadband capability. Just so he could milk more years out of his Foxtel cable service!
I have to rely on postal and couriers delivering drives. There is no viable cloud sharing for my work files. It’s even a stretch to upload a broadcast master file in XDCam HD format at the end of the job.
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I’m in the fortunate situation that normal post for me starts with interstate and remote clients posting me a drive with media to do picture and sound post. Living in a tiny country town at the bottom of the world in Tasmania is a decision I made over a decade ago that means I always work remotely from my home. So my business is largely unaffected.
What will change is that clients mostly won’t be flying in to sit in on grade & mix run throughs. I will be sending files for them to assess remotely. Again this is something I have done in the past for tight time frame deadlines anyway. Decisions my government made to roll out a slow internet will be limiting ongoing factors for me and show how short sighted governments can be.
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I like the idea a lot. I just hate touchpads and how they always get in the way of typing. This looks like a nice way to use that space for something useful and get the keys down where they belong.
And having a decent GPU means it might be a nice way to do a bit of Resolve work remotely, not that that is a big issue.
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Prior to importing the xml you can change the way Resolve treats the incoming footage. Scaled or not. The default is to pre scale the footage, then apply values to zoom etc.
Before importing the xml again, go to Settings> Image Scaling and input scaling should be set to Center crop with no resizing. Now when you import it will have the absolute scale the same as Pr.
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Such a big difference would make me check both are rendered to the same pixel aspect and codec. ProResHQ does vary slightly but not to that extent. I can’t believe they are identical pixel aspects and codecs.
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[Oliver Peters] “Other than servicing existing Fairlight customers, are these updates attracting new customers for just the DAW and by extension, the hardware control surfaces for mixing?”
I am not involved with the software team anymore since they went to BM. Also BM controls that sort of info more closely than Fairlight did. I’ve stepped back from the bleeding edge. My hunch is that the ex Fairlight guys will want to get at least the same level of functionality as the old standalone. The biggest stumbling block for me is being able to reliably open old projects from Xynergi in Resolve. I’m sure they will go to Resolve to keep going and buy controllers and faders rather than go to ProTools.
Long game I reckon we might start to see more difference between the free version and the paid and some of that might be extended features in Fairlight and Fusion, much like the extended features on the Color page – NR and OFX. Maybe the detection of the optional CC-2 card (the FPGA) might unlock extra features for the audio pro.
There is no doubt the Resolve version of Fairlight has brought new customers from the audio world. I know lots of sound post people who now have Resolve, as well as Reaper, ProTools and Logic. They are adding Resolve in a way they didn’t do with the standalone. More importantly as production workflows favour more the lone wolf, having top quality finishing tools for both picture and sound integrated into such and affordable product will attract customers, mostly from Adobe I suspect.
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Firstly Fairlight invented digital sampling. The CMI was the worlds first sampler with a sequencer. Synclavier came later and basically copied the Fairlight approach. One of the first customers for the Fairlight CMI was Stevie Wonder. Yes Australian. Two men Kim Ryrie & Peter Vogel developed the first sampler/ sequencer in the harbor side Sydney suburb of Fairlight.
As a long term user of dSP (a Fairlight offshoot) and then Fairlight Xynergi (developed when Fairlight bought the dSP IP and software dev team), I have been intimately involved with the development of this product. Since Blackmagic bought the Fairlight IP, they also employ the software team that go back to the dSP developments of the 1990’s. Fairlight could never compete with the ProTools marketing muscle or the clout of Apple with Logic. However the use of Fairlight tended to be with big Japanese & European broadcasters. It was and still is the most intuitive and powerful of DAWs. Using a single FPGA card, I have had the capacity to mix 1000 tracks, with full EQ, dynamics and automation for 15 years into surround formats. Six years ago I upgraded the FPGA card to allow for multichannel outputs like Dolby Atmos, NHKs 22.2 surround and many others. Although Fairlight standalone has been EOL for over three years, its still leading edge.
I have been dismayed at the progress of integration of Fairlight into Resolve which is my software of choice for grade & finishing. This latest update is getting closer and I am looking at the feasibility of moving over to just using the Resolve Fairlight to do what I now do with the old standalone. For that I will definitely want the edit control panel and a single mixer panel. Doing audio with a mouse and virtual faders is awful.