[Nate Weaver]

I guess I’m interested in this for 2 reasons:

1-I’d like to have the look of the ACES raw

2-It’s not always practical to shoot Sony raw, it’s pretty data heavy

So far the ACES raw is looking different to me than S-Log 2 with LUT applied. I’m attributing this to the specific toe and highlight rolloffs built into the RRT, and the negation of some Sony S-log highlight handling in the IDT. I think it looks fantastic.

Nate Weaver
Director/D.P., Los Angeles
https://www.nateweaver.net

[Nate Weaver]

There’s also a chance the whole thing is driven by a computer video card, in which case they are dealing with non-video resolutions.

But it’s the same deal, I’d find out first 🙂

Nate Weaver
Director/D.P., Los Angeles
https://www.nateweaver.net

[Nate Weaver]

I think I’d find out the specs of the video wall and how it’s being driven before I’d make any odd sized timelines or outputs. The production folks setting up the wall can tell you.

If it’s driven by a single 1080 feed, then all you have to do is mask your output, and find out from the wall guys how they’ve aligned the 1080 raster with their displays (centered, top aligned, etc)

If it[s driven by multiple 1080 streams, then you’ve got an entirely different set of tasks ahead of you, one that likely involves After Effects to break out separate 1080 geographic regions.

Nate Weaver
Director/D.P., Los Angeles
https://www.nateweaver.net

[Nate Weaver]

Beautiful!

Thanks so much. I was digging in the manual, looking for end condition toggles in the Project Properties, etc etc.

Seems to work great!

Nate Weaver
Director/D.P., Los Angeles
https://www.nateweaver.net

[Nate Weaver]

The telecine op won’t know what frame rate it was likely shot in until he spools it up and takes a look.

Just tell them to xfer @23.98fps and give you a 23.98 ProRes HQ file. That way each frame on film will have it’s own frame in the QT file…and you can play with it on your computer to get what you want later. Make sense?

If they playback at 16fps and record out a 23.98 or 29.97 file for you, there won’t be a 1:1 relationship between frames from the film and frames in the file. This would be bad if you later realize later when you get the file back that it wasn’t 16fps after all. Just ask for “one film frame to each QT frame”. That will get you what you need.

Also request a flat pass, so the colorist does not clip any backs or whites. With a 10bit ProResHQ file, you’ll be able to correct it yourself without inducing any bad looking artifacts.

Nate Weaver
Director/D.P., Los Angeles
https://www.nateweaver.net

Members

[Nate Weaver]

I’d imagine because it creates stability issues.

If Resolve can’t control what other programs do with the hardware (output modes, etc), then it’s hard to rule out problems when Resolve needs to use it.

Just like when my buddy borrows my motorcycle tools, something always comes back out of place 🙂

Nate Weaver
Director/D.P., Los Angeles
https://www.nateweaver.net

[Nate Weaver]

Yes, I’m curious how this 650M would do compared to a GTX285, which is the fastest I’m used to at this point?

I looked at the specs on the Nvidia site, and the 650M seems to have a higher clock and more cores, but bandwidth is less than a 285.

Possibly for 1080p video only (+GUI, of course), the bandwidth is enough?

Nate Weaver
Director/D.P., Los Angeles
https://www.nateweaver.net

[Nate Weaver]

[Nate Weaver]

Once you get all your clips in the multi clip, and they are close but not completely synced, try these things:

-Set your Zoom audio to “Monitoring Angle”. Then right click on the out of sync clip, and then “Sync To Monitoring Angle using audio”

-If you set sync markers in your clips, and then tell it to sync via audio, it goes faster. use that to your advantage.

If all else fails, personally, I’d just sync them by hand once in the multi clip. It surely is less time than repeatedly trying to have FCPX do it and fail. If you take a few minutes to read the features inside a mutliclip view, you realize Apple has given you all the tools you need to sync things VERY quickly by hand and eye.

————————————————————

I just finished my first 10 camera job in FCPX using multi clips. Some advice:

Go into the event and have FCPX transcode all your used clips into proxy files. Then go into Prefs and tell FCP to use them. It speeds things up by magnitudes.

Nate Weaver
Director/D.P., Los Angeles
https://www.nateweaver.net

[Nate Weaver]

It’s there:

Nate Weaver
Director/D.P., Los Angeles
https://www.nateweaver.net