[Michael Gissing]

32 gig RAM and a good GPU makes life better.

[Michael Gissing]

I’ve had the odd issue with older versions of a crash when opening a big project straight after opening the software. Try opening a small project or even a new one, then open the project you want. In other words it’s not the first project you open after starting. That worked for me when it happened occasionally.

[Michael Gissing]

Check the sample rate, track number and bit depth are the same.

Resolve 14 is such an improvement in many areas including sound that it might be worth considering updating, with the usual cautions if you are mid project and backups of projects and database is done.

[Michael Gissing]

Deliver page, mark in out on one frame and then select tiff. Same as exporting anything out of Resolve but you have to select a one frame range.

[Michael Gissing]

First you have determine if you have a gamma problem or simply that your different viewers are the problem. By comparing Resolve’s display to VLC you may be simply seeing the difference between how two different software players display. You may also have a problem with VLC’s gamma settings. So firstly export your Vimeo spec file and a section in Uncompressed 10 bit 422. Compare them in VLC and see if there is any difference.

Also reimport the Vimeo file in Resolve and see if it looks the same as the original. My guess is there will not be a difference in gamma, just the difference between two uncalibrated players.

[Michael Gissing]

If you have no clips that should have resize info, you can copy one clip that is correct and paste attributes ‘motion’ to all clips to make them all zero resize.

[Michael Gissing]

I wasn’t including the price of X on the assumption that it was comparing using this for current X users to buying Resolve’s offerings. Even though Resolve is cheaper and more capable, I’m sure there are those that want to stay within their NLE of choice as I want to do within Resolve.

I’d want to know a lot more about masks, tracking those masks and how the layers interact before passing any further judgment on the grade tools.

[Michael Gissing]

Resolve Studio and it’s smaller proprietary panel are the same price. Even cheaper if you are happy with Resolve Free. It sounds a lot like the layer based hierarchy that Color with FCP Studio offered.

I’m not sure that a control panel sans trackballs is going to impress for that price. I would have thought that the controller would have been cheaper without trackballs.

[Michael Gissing]

[Bill Davis] “I’m sure it makes you feel more comfortable to hold onto the fantasy that X is just for guys like me.”

That’s not even close. What I say is that editors like you with your needs met by a single ecosystem of hardware and software have so little legitimacy proclaiming what a broad and diverse community might need. When asked by editors what to use, I take into account all of their needs, budgets and workflows. Sometimes I recommend they try X. Other times I suggest other systems. All that interests me is trying to make sure my editor friends are confident and capable with their tools before feeding through to me to do finishing. So I am not an advocate like you for a single system above all others because I know that is not the real world.

And no I was not talking to your friends in Copenhagen. I was talking to all who may wander the Cow and want opinions from people who live in a world where all NLEs & DAWs have to be assessed for the way they work and fit into complex workflows. From people like me who have been doing this for a long time and have worked alongside companies that have been at the forefront of hardware and software development. Your opinion is enthusiastic but narrow and often flawed by a lack of knowledge and understanding of workflows you just never encounter. You are poor at listening and prefer to throw strawmen and car analogies in to bolster your opinion.

So I have no fantasy about you or users of any NLEs. I have knowledge and experience and most importantly a lack of bias for any system.

[Michael Gissing]

[Scott Witthaus]”Let’s really be fair. What are your needs from an NLE?”

My needs are to take edited projects from a variety of NLEs (Avid, Pr, Resolve & X), grade, stabilise, do object removal and basic compositing, denoise, reframe, create titles and then reversions of that for a variety of deliverables from Vimeo to cinema, all meeting strict tech specs from broadcasters and cinemas. I also have to do the same process for audio including multichannel deliveries including a recent 22.2 mix for a museum installation. Again the audio versioning has to meet international loudness levels be 5.1, stereo and mono/ Dolby surround compatible.

I do a small amount of project origination that I edit and deliver from documentary to music video. I need a system that can handle all drive formats, codecs from DV to cDNG, r3d, ProRes, DNx, DPX etc. I need to have performance to be able to play those to a 4k monitor for real time review of grades and to QC for delivery. I need to render a range of deliverables that doesn’t take days. So my needs are for a system that can take almost anything thrown at it, turn around a final deliverable with all the tech and delivery requirements quickly and at 4k resolution, for a usually pitiful budget under tight deadlines.

For the past six years I have not had an Apple only based hardware or software solution to meet those needs. I must be able to read all the xml, AAF, OMF and EDL options that people throw at me and be able to chose hardware that I can constantly upgrade GPUs. I must also be able to plug in any sort of drive from NTFS, HFS+, ext3, with USB3, to USB-c and Thunderbolt connectors. I also need to plug in multiple drives with multiple formats and connectors at any time. So I must have cross platform software so I can chose the right hardware and OS for my particular needs.