[Michael Stirling]

thanks 🙂

[Michael Stirling]

Hi Jake

This probably way too late but I see that grabbed stills remain in the project even if you delete the edl timeline you created them in.

So this is something that may work for you (NB this isn’t something that I’ve done – it’s a theory)

Do a ‘grab all stills’ then delete the edl timeline. Save the project, then create versions of the new project with separate 15 min EDLs in each and copy your grades back onto the relevant clip. Not automatic by any means but better than restarting the whole thing.

Mike

[Michael Stirling]

Hi

Thank you all for this – works like a charm

Mike

[Michael Stirling]

thanks everyone

I guess the answer to the subject line is Bug. It is important to me to get accurate information from Info dialogs (strange of me I know) so I’ll follow the workflow of having the Decoder set to Full when importing RED footage.

mike

[Michael Stirling]

I have luma qualified power grades stored as workround

[Michael Stirling]

thanks for the replies.

Sorry to be really stupid but why is it recommended to IMPORT at Quarter res (I don’t have a rocket) and not follow the workflow Danny suggested of bringing in a full res timeline THEN decoding lower for playback. That way all the dialogues show the correct res.

[Michael Stirling]

funny, i was just looking over at my old Mac Pro 2,1 DL2 system that I’m cleaning up for sale wondering if Resolve would just work on it. If it had an Nvidia in I’d have tried it today

~M

ps. mac for sale 🙂

[Michael Stirling]

thanks,
Some of them have a lot of movement so i think for this one i’ll just bake in.
Roll on multitrack in Resolve

MIke

[Michael Stirling]

hi Peter

Do you know why it has to be a BMD extreme 3 or 3d. My system is all but resolve ready except I have an extreme 2.

Has anyone done any testing with other BMD cards?

thanks
mike

[Michael Stirling]

I spent my time at the roadshow checking out the OSX version and I was blown away. The realtime and the tracking clearly being the standout features. The speed on what was a similar(ish) spec’d system to mine was unbelievable. Especially when I returned to my suite to watch the spinning colour icon for most the day in apple color. The RED integration was great allowing the user to switch between the different qualities and sized proxies and changing these settings at a per clip level.

However, as a tangent wave/ color user I was pretty horrified at the number of clicks and scrolling through submenus the it required to do basic things BUT as assured by Warren Eagles who was demoing that the interface was not finished, and tangent are working on the waves integration to be ready for release.

Also, am I right in thinking that the scopes on show were NOT part of the programme and require another card to run them? I didn’t really pay them much mind as I’m used to the software scopes being right there in Color.

The final head scratch for me now is checking that my FCS set will still work correctly with a GTX285 in there as I need it all to run on 1 system

MIke