[Michael Mccune]

Perhaps in the non-beta 12 version the in/out points can also be selected with the usual i/o keys. Also perhaps a previously marked i/o segment in the edit page will carry over to the deliver page.

Also, please advise on printing Data Burn info on the exported video.

I have data burn set up and visible on the color view window and it carries over to the deliver window. It is also of course selected in the deliver setup check box. It even displays while rendering. (FWIW, this is UHD > Quicktime DNx220x 1920×1080.)

But no data burn visible on the exported output.

What am I missing here???

Thanks,
Mike

[Michael Mccune]

Right. There is a split between the goals — and the visual result–of those with a documentary camcorder approach and those who try to achieve a beautiful result, called cinematography.

The first I call the “6-o’clock News” approach and the other is the artful approach. Get ready for religious wars on this topic!

But the practical side is really the answer, IMHO. That is, if your job description calls for “bringing back the bacon” then a camcorder with a long zoom and using auto settings for everything is the only practical approach. For example, a wedding client may want end-to-end coverage, everything. After all, they want everyone to see everything!

Or, the client may realize that, in the end, it is really a few precious and beautiful shots that capture the day, to be seen by relatively few.

One the one hand, there is lots of footage, none of which is likely to be beautiful; and on the other hand there is relatively little footage but it might have nuggets of gold.

—

You can guess which camp I usually find myself in! And I have found–knowing that I will have more gear and setup required than my friends on the same shoot–that I plan for it as much as possible, trying to guess the best place for the tripod, the best framing and light, etc. True, no way to get end-to-end coverage.

Once I asked an acquaintance who was editing such a shoot about including some of my shots, a couple of which were unexpectedly, even to me, gorgeous. He said he couldn’t. Why? Because they look so different.

That is, a video-y look from a camcorder set to auto everything versus a full-frame dslr image with tight framing, beautiful highlights and background out of focus, etc.

Ya choose your poison, as they say.

Best wishes!
Mike

[Michael Mccune]

Hope you have better luck than I if you must go handheld.

At one shoot I had to leave the tripod but had some confidence in handheld. It was totally unusable. We are now used to such smooth video that a little shake is obvious. Not fixable in post to any satisfactory degree.

There is new gyro and gimbal hardware that may help. There are small pistol grip types now which are more appealing to some people than the larger two handed stabilized types. The small pistol grip types cannot accommodate larger rigs which may have separate viewfinders, batteries, etc.

The problem for some of us, of course, is that these devices are between $750 and $1,000 dollars.

Best wishes,
Mike

[Michael Mccune]

Thanks, Ryan. Yes, actually, there seem to be some beta-level signs of unavoidable incompleteness in the Delivery page.

Understandable.

How about these other Delivery page features in the future:
1. Set In/Out points with keyboard i/o keys as in the Edit and Color pages;
2. Carry Edit page and Color page In/Out settings over to the Delivery page;
2. Retain Delivery page In/Out settings after bouncing back from other pages;
3. Actually show Data Burn-in in the rendered output (it seems to display in the Delivery video window but does not seem to survive the render process).

Thanks again, Ryan.
Mike

[Michael Mccune]

Thanks, Dwaine;

Yes, actually I did re-download it before re-install (just as good practice) and did see the “b” version difference. But didn’t know this fix was included of course.

Next challenge: learning to work with it, mainly through Lynda.com.

Question: can most window panes be torn off and re-positioned on the second screen? Does not seem so.

Thanks again, Dwaine.

Mike

[Michael Mccune]

Thank you, Dwayine, for the speedy reply. Good news here.

First, the latest full Catylist package was indeed installed, version 15.20.1062XXX, next update Aug.12.

In fact, the GPU shows 90-100% utilization when running some Premiere Pro processes, so the hooks into Open-CL seemed to be working.

Taking your clue regarding multiple monitors–and recollecting config notes for Resolve with respect to separate graphics cards for GUI and display monitors–I was indeed suspicious of some unspoken or perhaps unarticulated monitor requirements.

So here is the story:
1. Uninstalled Resolve, ran CCleaner for various and registry and ran ckkdsk and /scannow just for file system housekeeping; disabled Symantec;
2. Disconnected second monitor, rebooted, reinstalled and started Resolve: WORKED!
3. Played with a project for a while, saved and restarted a couple of times; OK; Quit Resolve;
4. Reconnected second monitor; the monitor came back up normally (i.e., no monitor re-config required);
5. Restarted Resolve now with the second monitor connected: WORKED! Played with it awhile. Now we seem to have a two-monitor Resolve setup.
6. Played with Resolve projects, saving, quitting, restarting. OK.

All seems well.

So, the take-away seems to be that multi-monitor setups require at least an install and startup using only one monitor. Then a second can be added.

Question: regarding the config notes for Resolve that seem to say that a second card is to be used, is it nevertheless still better to have a second card — and not just for frame-rate improvements???

And what cards– or BMD devices– are a first (beginner) option??? Can two dissimilar cards work together??? Or, does one need, say, two of the same brand or even identical???

How about one Nvidia and one AMD card???

Thanks again, Dwaine, for your very helpful response.

Yours,
Mike

[Michael Mccune]

Anecdotal evidence, as it were: I trained for legal video depo work as a new career path. Had lots of video and audio tech background, so no problem there. I also thought I would use much of this equip to also get into something like corporate or wedding videography, perhaps as a second shooter.

Learned: the very friendly and helpful person who spent many hours training me in his method did not seem to have upcoming work sufficient to keep me even somewhat busy. But here is the real lesson: the equipment needed — no substitutes — was ancient.

That is, as mentioned above, an old (really obsolete) video camera which has SD out, a cassette (yes, cassette) recorder, a DVD recorder (household type), not great mics, some rigged-up cabling to connect it all, including headphones for the shooter and the court reporter. None of this equip was good enough to use for other ventures, such as wedding video. And just finding a cassette recorder or DVD recorder meant going to Radio Shack or eBay.

Why this equip??? This guy worked for another larger legal depo company and it was they who REQUIRED that a DVD and cassette be given to their court reporter on site at the end of the depo. No chance to duplicate it later.

In sum, it might have been a few thousand thousand dollars of old (unreliable) equip that could not be used otherwise. Compare the required setup as described here with some current camcorders that allow dual (redundant) recording as HD MP4 files with excellent digital audio. Just hand them an SD card. But not a chance.

He also made it very clear that in his years doing this work that the source of clients has shifted to larger companies who in turn hire the shooters. So the money is less and they call the shots. This means that a new shooter would likely have to connect with such a larger company to get work.

BTW, I did not find this work totally boring but one certainly had to stay awake: absolutely no nodding or looking sleepy even after three hours of droning by the attorney.

So that’s my story and I’m stickin’ to it.

Best wishes,
Mike

[Michael Mccune]

Lewis; With problems of this sort, that is, “Corruption …,” “Segmentation …,” “Consistency …error found …,” I have found that housecleaning often–magically–cures the error. This suggests to me that the problem is in the database and not the media.

(Though I have had errors and found that, indeed, there was an error in one–yes, one–frame. Find it, delete it and move on ): )

Of course we all know about deleting the two MXF folder files, *.pmr and *.mmob, and relaunching Avid. I usually ask the Windows file manager to find all the instances of these files, especially if one has several drives and lots of mxf folders. This will also find those on the C drive even though you probably don’t use that drive for storage.

I have also encountered errors, surprisingly often actually, when doing complex Avid FX work and then asking Avid to render the timeline. Simply closing and restarting Avid clears the “error.” Sometimes I render a portion of the timeline, close Avid, restart, as a preventive routine.

Again, these may be database integrity issues, not media issues.

Best!
Mike

[Michael Mccune]

… just a thought …

We all hope you find some simple setting or fix. BUT …

Is it supposed to work with MC 7.02?

Probably once a welcome tool, but is it actively updated?

StageTools 64-bit capability was introduced about January 2012, during the reign of MC 6.
Unless I am missing a lot, the StageTools site does not seem to have a version history, revision history nor release notes.
There seems to be no contact info on their site other than info@stagetools.com.

And MC 7.02 Release Notes make specific mention of field-based effects editing changes.
https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&ved=0CDwQFjAA&url=http%3A%2F%2Fresources.avid.com%2FSupportFiles%2Fattach%2FMC702RN.pdf&ei=voa7UvDvJoPwoATo3oGYBw&usg=AFQjCNFsCD6HezTv9zawVMLC8zYA2xIcag&bvm=bv.58187178,d.cGU

Is that a clue?

Yours,
Mike McCune

[Michael Mccune]

I was surprised to find that the Panasonic GH3— while not one of the Canon or Sony “big boys”–has features that video shooters value, such as
–no 12 minute or 29 minute time limit ( it records about two hours to SD),
–has time code, about 72MB/s data stream,
–clean hdmi,
–rotating live view screen, etc.

It is a MFT (four-thirds) sensor but now that Metabones Speed Booster adapters allow full frame lenses, add a stop and slightly improve resolution at the center, it can approximate a Super 35 setup.

Very interesting.
Mike M.