Misha Aranyshev
Forum Replies Created
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[Bob Zelin] “- what on earth makes you think that you will go out and get a “new Mac Pro” and install any NVidia GPU card, any RAM, any CPU, any 10G card that you want ? “
Was it ever like this with Macs?
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Unless you’re shooting Arri Alexa there’s probably zero information in the blown out highlight so there is noting to fix in post. Couple of things to try:
1. Go into the camera menu, find “knee” and play with it. It will change the response curve a little bit sop highlights aren’t blown out.
2. Get a sheet of white foam board and bounce some sunlight onto your subject from below. Dial down aperture (or shutter) to compensate.
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If Resolve is one of the only couple of thing that matters then you probably know well that it could use an Nvidia GPU in a Thunderbolt expansion box before this system update. It is things like hot plug and internal screen acceleration that didn’t work.
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Put the Waveform Cache on the fastest drive you have. Let it fully draw before attempting anything else. It’s been like this since v. 1.
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It’s all about trust. Back when you had to wait for dailies to get back from the lab you had to trust each other: client, producer, director, DP. Nowadays everybody is insecure and wants to check the take while it’s still rolling. This and the prevailing culture of instant gratification is the main thing behind editing on set phenomena. It shouldn’t be confused with the needs of stunt or VFX guys. They do need the ability to cut and match shots on set, it’s just has very little to do with actual editing of the film.
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I did it 16 years ago on a Pismo PowerBook feeding camera video tap into it through a DV converter. It was clear back then on-set editing is just a gimmick. Everything you edit on the set ends up on the floor. I had half a dozen of features since them brought to me to conform from such cuts just to scrap it and start from scratch. The set is just not the right environment.
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Replace on Playhead.
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.MTS is just a way to pack bits. What codec, what color sampling?
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Shane, it’s been too many years. You have the film part mixed up a bit. FilmLogic wasn’t developed by Digital Film Tree. It was around before FCP 1 and you could use it to cut film in Premiere and Media 100 but you just wouldn’t want too. There was nothing in Cold Mountain workflow other editors hadn’t been doing already. The big thing Apple actually developed for the film workflow was proper handling of 24@25 TC which is kinda ironic because it made life of European film editors much easier than American ones.
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Why Replace on Playhead is such a sacrilege for FCPX crowd?