Michael Gissing
195
COW Coins
190
DaVinci Coins
3
Solve Coins
Forum Replies Created
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You can make multiple movies from the same original camera files in a single project by placing them in separate timelines and export each timeline. How you name them is up to you. For example I might have different versions of a documentary. One for a broadcaster in Australia. Another for international distributors etc. Each timeline is a variation, maybe with different start times, or slightly different edits and durations. I name them accordingly or as required by the broadcaster.
The point is that once your files are imported to a project, you can make as many versions as you like within a project by making another timeline. Each timeline can be exported as a finished file on the delivery page.
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You can have multiple timelines within a project.
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I’d say there is no chance BM cameras will support ProResRAW. Resolve could but not the cameras. Even though they are FPGA driven, adding extra codecs might limit the scope of what the cameras other processing or operational software can do. I’m also not sure there is any significant demand from BM camera users for ProResRAW. I’ve used BRAW. It’s amazing and personally I won’t want ProResRAW.
I would like Resolve to deal with ProResRAW playback however.
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It might seem like logical good business for Apple to support BRAW and BM to support ProResRAW, but it comes as no surprise that FCPX is now the only one not to have BRAW support and BM are not talking about supporting ProResRAW when Adobe and AVID will.
It’s competitive out there. I’m pretty sure BM would be fine supporting ProResRAW (although Grant Petty is on record saying it’s a poor RAW format), but might not support it until Apple reciprocates. Ball is in Apple’s court.
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Premiere does resizing differently to Resolve. Resolve scales first and then applies resizing. Premiere can also do that but it’s an extra step for editors and it also doesn’t transfer when parts of one timeline are copy pasted into another.
If you know your xml is from Pr, then you need to change the way Resolve handles the pre scaling. That way the xml info for resize translates correctly. Too late once you have started and changed scale info.
I never resend back to Pr after grading. I always finish in Resolve. I also ask the editor how they have handled scaling in the edit before importing the xml.
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I had one project that was shot with the Cion as primary interview camera. It had to intercut with a Panasonic (GH3 or 4 from memory) second interview wide, low light Sony a7s in caves plus RED close ups of lit spiders in a cave. (16 Legs is the doco if anyone has seen it).
Matching the Cion to anything was a chore. I went looking for a LUT to get me close but found nothing from AJA at the time. In the end I made my own set of nodes in Resolve. It did grade up nicely at times but it was such weird color science that it was always the camera that needed the most work to get close to anything else. I never really got it to match the GH which I thought looked nicer on skin tones in the end.
The editor shot the interviews with that camera and he didn’t really like using it the end. I doubt AJA will want to get involved in any more dev with getting other codecs on board. It was an experiment that probably only encouraged them to stay out of cameras.
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[Oliver Peters] “No, definitely not the intent.”
Just stirring.
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I don’t know anyone that calls it 10. It seems to be universally known as X in my circle.
I thought this thread might be speculating if Apple EOLs X at the 10 (X) year mark.
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Most software these days has features that even regular users don’t know about. Largely because they offer more than one way to do the same thing. Resolve probably has more features than any other NLE so that is not really a problem but a characteristic to be mindful of.
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[Joe Marler] “However can be difficult to use in the field”
I have the shoulder rig and viewfinder. I find it so much easier to do run & gun that with any DSLR form factor cameras including the BMPocket4k. I often don’t even bother with the shoulder mount. Off the tripod and straight onto the shoulder with the viewfinder makes for a quick run & gun. I use the 24- 105 IS lens and it is perfect for this. It’s also par focal. I don’t have the Pro version so it is slightly awkward to power the camera on but with two big 160wh Vlocks, it runs all day.