Nate Weaver
Forum Replies Created
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All of my work is clip based cameras as well (Canons, Red).
Red projects conform merely ok, with lots of conflicts to take care of. 5D projects are the worst, as usually the 5D files are transcoded without TC.
What’s the best way to export EDL out of FCP to carry file names? Is there anything in Resolve to modify to get it to read those filenames better?
I’m a little disheartened to read that AAF has the same problems. I figured Automatic Duck AAF out of FCP would solve all this.
Nate Weaver
Director/D.P., Los Angeles
https://www.nateweaver.net -
What does “additional remote grading features including grab/select/delete stills” functionality mean?
Is this programming for the Wave, or the Resolve panel, or?
Nate Weaver
Director/D.P., Los Angeles
https://www.nateweaver.net -
It’s been explained elsewhere that the GTX285 must run without monitors attached, and the 2nd card runs the desktops/GUI. I do not know where I read this, but I’m pretty sure it was a posting by a BM rep here on CC.
The two remaining slots would ostensibly then be a RAID card and a Decklink.
As I understand it, the demo machine I played with at NAB had this setup.
Nate Weaver
Director/D.P., Los Angeles
https://www.nateweaver.net -
It was a GTX285 in the demo machine with the Wave panel, btw. It was very much RT with the DPX media in the demo, and I thought I saw more than 4 nodes on a lot of those shots too.
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Missed your bit about the IO Express. I guess the IOE will serve up RGB progressive via HDMI without an mini converter after it, but there’s some limitations on interlaced framerates.
Using an HDP2 will fix that for an extra $600.
Nate Weaver
Director/D.P., Los Angeles
https://www.nateweaver.net -
I just got a Dreamcolor for FCP and Color use, here’s the deal:
You need to feed it off of HD-SDI, for one thing. The DVI outputs of a graphics card are meaningless and subject to all sorts of inaccuracies, by the fact the OS color manages those outputs.
I got a AJA HDP2 HD-SDI to DVI/HDMI adapter, as recommended by every user that I’ve read using the monitor successfully. This converts any video format the HD-SDI output will serve up to the progressive RGB the monitor needs to see to emulate Rec709 colorspace. This is very important.
Compared against the aging JVC 19″ DT-V1900 HD-CRT I have, it is clearly right on the money. Some high-end post-house guys on Reduser are reporting that theirs match their in-house BVM-D24 monitors pretty much perfectly, but you have to jump through the aforementioned hoops.
It’s worth it. Follow the instructions above and elsewhere on the web (Alan Tépper).
Nate Weaver
Director/D.P., Los Angeles
https://www.nateweaver.net -
He mentions specifically in the email that he doubts this means a new lower-end product line for DaVinci.
On the other hand, if they were planning something of the sort, talking casually about it in released emails would be pretty dumb. And then on top of that people can change their minds.
But I’m not holding my breath for any low-end options from them with regards to CC.
Nate Weaver
Director/D.P., Los Angeles
https://www.nateweaver.net -
Don’t even have to turn it on in preferences, I don’t think.
Hold ctrl down and roll your scroll wheel up (or down). Very quick and easy.
New website, new work online:
https://www.nateweaver.net -
Do NOT, however, pull the 23.98 clip into a 29.97 timeline. FCP will add pulldown, but it will be 2:2:2:4, which will stutter and is incorrect for the application.
Pull it into a 23.98 timeline, and then set your Kona or BM video output to 1080i29.97. During the edit-to-tape, FCP will only then apply the right kind of pulldown, on the fly.
New website, new work online:
https://www.nateweaver.net -
[Zane Barker] “Not true you can go back to HDV tape, its a pain in the but but you can.”
Yes. I was aware. I used the word mostly.
Mastering back to HDV is given short thrift because it’s not really a professional delivery format.