Michael Gissing
195
COW Coins
190
DaVinci Coins
3
Solve Coins
Forum Replies Created
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I have long been a fan of good ergonomic controllers for any sort of editing platform – DAWs, NLEs etc. Over the years and working with DAW developers, I have always found touch screen devices without actual buttons and knobs to be inferior to direct feel and feedback that real buttons, knobs and jog wheels give. Anything that makes a beeping noise instead of a real button press is super annoying. The real deal breaker is not having an accurate jog shuttle wheel on any touch screen emulators. Once you have a real controller and you let go of the mouse ASCII nightmare, you will always demand a proper surface.
So a controller on a tablet device isn’t exciting to me and I understand why neither Apple or 3rd party devs might not be rushing to provide for their NLE. Same I guess applies to the other NLEs. I particularly find NLE editors to be so wedded to that mouse ASCII combo that they are almost impervious to the more elegant solution. That’s why I am looking forward to getting a proper edit control surface for Resolve when I make the switch from Fairlight stand alone to using it in Resolve. I would not think for a moment to operate something like Fairlight without dedicated edit control and mix surfaces. The bonus is that I will now be getting that same control with the Resolve edit page. I cannot begin to tell you how I am longing to get the mouse and ALT/ CTRL/SHIFT keys out of my life. I’m using the Tangent wave for grading which gives me proper trackballs for grading and OK jogging but I will also be getting the Resolve mini grade panel as well.
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With cameras like the C100 and the Sony FS5, file names repeat with each new folder. In the case of the C100 timecode is also set to zero as you point out. That is the perfect storm for post calamity and I have no idea why both those cameras do not allow for unique file names which is the best solution.
I am working on a series at the moment and all original camera files are being bulk renamed to add a unique identifier. So files in each folder gets two extra prefixes – H01_A001_, where the H01 is a reference to a specific camera and shoot day and the A001 is the reel (folderID) on that day. The following _Clip0001.mxf is then left on the end and as each clip increments for each card the files all end up with unique names. This works even if the timecodes are all zero start. There is plenty of free software that does this simple bulk renaming.
I just received the AAF and a drive with the camera originals of the first episode and all but one file reconnected perfectly. This is in a workflow where the camera originals are first copied as proxies for AVID with the matching file name and timecode. As there are multiple copies of the camera originals it is important to do the same renaming on all copies or rename in the field before making backups.
Resolve can be excellent when basic rules of file naming and folder management are done BEFORE editing begins.
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FCP sequence uses 32 bit float for audio processing so that is normal for the sequence settings. It isn’t the cause of the rendering. There must be something else about those files that FCP doesn’t like and it is possibly in the metatdata coming from Abelton.
Are you sure it is the audio that needs rendering? Does it beep when unrendered? It has been a long time since I needed to use FCP7 and rarely did the audio need rendering.
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Collaborative workflows have changed radically in the latest versions of Resolve. Have a look at where it is at now in this demo from a recent post in this forum
https://forums.creativecow.net/readpost/277/41992
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Good to see it demoed. I don’t know how well collaboration works with Avid so good to get your feedback Shane.
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Perhaps both the xml compatibility and the lack of grade info is due to the recent changes in X with the new grade tools. I don’t know if this is an X or Resolve issue, but it doesn’t affect me as I don’t want the X grade info. I’m surprised they ever attempted to translate as you say in version 12.
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My experience is that the keyframe info doesn’t scale correctly from Legend, X & Pr.
Color correction? No, I would never expect that to come across in any meaningful way via xml or AAF in any system. If it tried to, I would ask for the option to ignore it anyway. Same way I ignore audio EQ and levels from AAFs.
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[Lawrence Gray]”H264 , 48Hz”
Which beta version of Resolve 15 are you using?
H264 is a video codec. Was the audio codec PCM or AAC? Also was the bit depth 16,24, 32 or floating point? It helps to know what might have been the problem for other users to avoid.
Was the music you deleted mp3? So many variables in your description it’s not easy to guess what might be the issue.
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What codec is the clip (particularly the audio codec). Also the bit rate and sample rate
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[Shane Ross] “…the one thing that did excite me was the DARK MODE option”
Wow. I’ve had dark themes with Linux Mint for years, also used dark themes for Firefox browsers & Thunderbird mail clients.