[Michael Stirling]

Thanks Bill,

That is great to hear – I was not looking forward to a move to 8 or 10
Going to install onto our Win7-64 machine now.

M

[Michael Stirling]

I find playback OK but navigating the timeline in the edit page (things like zooming in) is so painfully slow. It was awful on my old mac pro and is now awful on my tricked out Window machine.

[Michael Stirling]

Hi Rohit –

Even though I tested this on both Windows and Mac yesterday I can’t replicate the issue on the Mac trying again this morning (which is still on 11.2) Will test the PC again later. I’ve done hundreds of conforms but I can only think it was pilot error.

M

[Michael Stirling]

Thanks Bill – I was looking in Quicktime.

I’ve just discovered a major issue with 11.2 though – I can’t conform from an AAF – it won’t find the media. Just rolled back to 11.1 and that works fine. I think this is serious enough to contact BMD over, have you tried this?

M

[Michael Stirling]

Great!

Should I be seeing DNX-HR in my deliver codec list because I’m not (on either Mac or Windows).

Thanks
Michael

[Michael Stirling]

I’m glad the update sorted your problem.

But there is actually a check box which uses renders in your export. This is different to flat pass.

Michael.

[Michael Stirling]

Not in my suite so can’t check but isn’t there a check box to use renders in the output. Perhaps this is checked and you’re getting a old render thrown into your export. Up checking would solve that and force export of your timeline.

M

[Michael Stirling]

I’ve always found keyframing/between tools in the tracker window too fiddly and prefer a combination of tracking and using the keyframer window.

In the keyframe window click the little diamond next to the corrector you are working on to enable auto- keyframe. Now as you move through the timeline of the clip and alter the window you will see keyframes being generated and the window will tween between the shapes.

Remember, if you’ve used the tracker already then the keyframer will be manipulating that data which itself is changing over time. You may want to add keyframes to block in the points in track that are good rather than just starting from the top and altering as you go as you may end up fighting the track.

M

[Michael Stirling]

We completed our first DCP with subtitles in the FULL version of easyDCP recently and it wasn’t plain sailing so I’m not holding out for things to just work in Resolve11. It seems pretty straight forward to create multi language versions from within the full version (both audio and subs) but I wonder what would happen when they got out into the world.

Michael.

[Michael Stirling]

You have to watch it back with the colourist on their calibrated equipment or trust that they have viewed the outputted file (not the project) on their system.

How it looks on other TVs will depend on how near to correct any given person’s TV is but they will still want it to look good relative to their normal viewing experience. Robbie Carman (I think it was him) calls this ‘But how will this look Grandma’s pink TV?’ and the answer is if she is used to seeing every correctly made show on her TV with a pink cast, yours needs to be correct in the grade suite as well to have the same pink cast which she will perceive as ‘normal’ on her TV.

For theatrical output (DCP) we review in our grade suite which isn’t in XYZ colorspace and therefore going through a transform for a first pass review which we find is still a good representation of the grade. I then advise them to book a screening in MPC’s theatre (I’m in London BTW) as I’m pretty confident in their set up.

Michael