[Michael Grenadier]

or just edit natively in DV which should work fine in Premiere. You can get a firewire to thunderbolt adapter and a thunderbolt to thunderbolt 3 adapter from apple. I got this to work about a year ago going in to a 2017 macbook pro capturing both hdv and dv natively . Post back if you want the specific adapters. It may be possible to use quicktime to capture natively on your old mac… Ann’s probably got the answer to that…

[Michael Grenadier]

all depends how crazy you want to get trying to figure out what’s going on. Here are a few ideas that might or might not be worth trying. You might want to try creating a new windows user with administrative privileges, and see if that makes any difference as it could be something screwy caused by the way another app is setup… A clean install of windows and resolve might fix things… and there’s a possibility that there’s something wonky in the new board…

[Michael Grenadier]

often, the limitations of recording from a laptop are the result of recording via zoom. Although I haven’t used it, someone did share a link with me for an app that allows you to record locally while your zooming. https://iris.fm/ Might be worth a test. This would allow you to “direct” remotely….

[Michael Grenadier]

I saw something similar recently with mxf files shot on a sony camera. The solution was to select the problematic clips in the bin, control click on the clips and choose: modify: interpret footage and choose color management: and choose color space override and choose rec709 (assuming it’s something different from rec709. There’s a complete explanation of what’s going on in the adobe premiere support forum. If anyone wants the link, post back and I’ll dig it up. The fix will correct the issue with clips and proxies already edited in to sequences… so it’s a pretty easy fix…

[Michael Grenadier]

Recently set up a client with a 13″ m1 macbookpro and it only has 2 thunderbolt ports and will only support 1 external display. Not sure if this is true for the 14″ model you’ll be purchasing…I worked around this by getting an owc thunderbolt 3 dock which can provide power to the MBP and I connected an external monitor using the minidisplay port on the thunderbolt dock. And we purchased a BMD device the name of which escapes me at the moment that will convert the second thunderbolt port to either SDI or HDMI for a full screen video output. Works great from within Premiere and Resolve.. Maybe there’s another workaround, but did a fair amount of research and this seemed to be the only way…

[Michael Grenadier]

thanks. couldn’t find this in the documentation or by asking a few people that know more about resolve than I do… Much appreciated. If you’re in NYC, would happily buy you a beer or 2…

[Michael Grenadier]

ya kinda gotta live by the rules your software sets. You can bang your head against the wall trying to adapt the software to your previous workflow, but often that’s a waste of time. And as long as you don’t screw with the immediate folder structure of your media, it shouldn’t be an issue to relink if necessary. Gotta say the relinking workflow in premiere is pretty robust (compared to fcp1-7, which could be a nightmare in a complex project until you got your head around how the program worked). Here’s how I handle this issue. When I get back from a shoot or receive cards or drives, I create a folder on my media drive for the jobname and within that folder I create subfolders with a path indicating date/and camera id (camera 1 – chip1, or name of camera model if it’s unique to the shoot). I then usually clone my media drive (using carbon copy cloner on the mac – always do this end of the job on the mac even when I’m editing in windows) to a drive with the same drive name as the media drive but with an X appended to the drive name (you don’t want to be working with more than one drive with the same name). I can then do an incremental update to my cloned media drive when and if more camera original comes in. If I’m working from more than one location, I just remove the X from the duplicate media drive at the second location. works great although there can sometimes be some outlying files that need reconnecting if I’m moving between windows and mac (I use a utility on windows that allows it to read macosextended drives).

If and when I need to relink, the relink function in Premiere shows the original path so it’s very easy to identify the containing folder, relink one file and usually, all the rest relink automatically. FCP1 -7 had a great function to change the file name to match the clip name so I was at sea for a while when migrating to Premiere but once I adapted my workflow I haven’t had any issues in the 6 or 7 years I’ve been working in Premiere

[Michael Grenadier]

what I need for the first step is a short clip without any effects (or color correction) to see if I can send it from Premiere to AE and then render it out so it will match the clip in the premiere timeline… Then we can see if adding effects in premiere or AE causes any issues.. make sense?

[Michael Grenadier]

can you render out of AE to match your source properties? Send a clip to AE without any effects applied and render it out without applying any effects? Does the output match the source clip in Premiere? Getting things to match can be tricky but should be doable. If you could a link to a short clip, happy to see what I can figure out. Recently had to export a few short clips from a resolve project into Premiere and/or photoshop to do some repairs. The resolve operator could not match back into the resolve timeline, but after doing some digging we were able to make it match. Should be simple, but it often isn’t.

[Michael Grenadier]

what happens if you render a file in AE and place it on top of the AE comp on the premiere timeline? Do you still see the loss in quality, etc.?