[Neil Sadwelkar]

Just to confirm.

The GTX 285 that everyone here is referring to, for use with a MacOSX version Resolve. Is this the same card that sells on the Apple store, as EVGA GeForce GTX 285, like this one?

https://store.apple.com/us/product/TW387ZM/A

———————————–
Neil Sadwelkar
neilsadwelkar.blogspot.com
twitter: fcpguru
FCP Editor, Edit systems consultant
Mumbai India

[Neil Sadwelkar]

The KiPro also takes HDMI in so if your camera outputs HDMI you could use that too.

———————————–
Neil Sadwelkar
neilsadwelkar.blogspot.com
twitter: fcpguru
FCP Editor, Edit systems consultant
Mumbai India

[Neil Sadwelkar]

I think the question is can this new Resolve integrate into telecine operations, meaning control a telecine?
There are many Telecine 2k Plus installations that would need a successor to the 2k Plus. Can the new Resolve Linux be that?

———————————–
Neil Sadwelkar
neilsadwelkar.blogspot.com
twitter: fcpguru
FCP Editor, Edit systems consultant
Mumbai India

[Neil Sadwelkar]

On the system that was there at the BM stand at NAB, there were two graphics cards in the MacPro. One wss a stock GT 120 that had the 24″ display running off it. And the other was a nVidia GTX 285 with no display connected.

The second monitor showed the output and that was being fed off BM HD Extreme card who’s output was connected to a HD Link Pro who out was connected to this monitor.

The rep at the stand told me (if memory serves me right) that the GTX 285 was the ‘processor’ for all the grading computations. And thus it effectively replaces all those ‘Power plant’ or ‘transformer’ cards in older Resolves.

This GTX 285 looks like the same one available on the Apple store
https://store.apple.com/us/product/TW387ZM/A

for a mere $ 450. Can this be right?

———————————–
Neil Sadwelkar
neilsadwelkar.blogspot.com
twitter: fcpguru
FCP Editor, Edit systems consultant
Mumbai India

[Neil Sadwelkar]

There\’s a semi automatic way of achieving this. You take your clip length in frames and divide that by 100. That gives you the length of each \’cut\’. Take a slug of this length and place it on a track higher than your clip. Copy and paste this 99 times. You don\’t actually have to do it 99 times. You can paste it once to get 2 parts, then copy these 2 to get 4, then 4 becomes 8 and in just 7 copy-paste ops you have 128 cuts. Delete the extra ones.

Now, in keyboard layout, assign a key (I use F7) for \’add edit\’. Then go to the beginning of your sequence. And do the key combination down arrow -F7 repeatedly. It\’s easy and in about 20 sec you\’ll have 100 cuts on your original clip.

———————————–
Neil Sadwelkar
neilsadwelkar.blogspot.com
twitter: fcpguru
FCP Editor, Edit systems consultant
Mumbai India

[Neil Sadwelkar]

I you just ‘happen to be’ in Las Vegas between 12-15 Apr then do come over to NAB and all these solutions would be there to see, speak about and compare. You can also come over to the Maxx Digital booth where experts like Bob Zelin will be available.

———————————–
Neil Sadwelkar
neilsadwelkar.blogspot.com
twitter: fcpguru
FCP Editor, Edit systems consultant
Mumbai India

[Neil Sadwelkar]

If you plan on a DI finish then the EDL suggestion is not wrong. DI scanning, conform and grading systems do not read keycodes for the purpose of locating frames or conforming sequences. They use time code from the EDL.

The way it works is that each lab roll has a hole punch at the head which is ‘assigned’ a time code at the time of telecine. This time code is on the telecine’d tape. Your edit system edits and tracks this time code. When the EDL is returned to the scanner, the operator sets the film on the hole punch and ‘assigns’ the time code as per the log for each lab roll. Then the scanner looks at the EDL and scans only the used shots.

The conform and grading system also look at the EDL time code and compare that with the timecode embedded in the DPX frames that the scanner puts out, and then builds a sequence that exactly matches your edit.

I’m talking about the following scanners – Spirit 4k, Northlight 1 and 2, Golden Eye, Arriscan, Lasergraphics. All these use EDLs.
And conforming/grading systems – Nucoda Film Master, Autodesk Lustre, Quantel iQ, Resolve. These also use EDLs for conform.

The only place you need cutlists is for a physical negative cut. And even in that, since you have 3-perf and 4-perf mixed, you cannot have a single roll negative cut.

Hence the EDL suggestion.

Mote details at my DI site
https://www.sadwelkar.com/DI.htm

———————————–
Neil Sadwelkar
neilsadwelkar.blogspot.com
twitter: fcpguru
FCP Editor, Edit systems consultant
Mumbai India

[Neil Sadwelkar]

I’ve encountered this in FCP 6.0.5 with Red clips in L & T. So I normally use Redrushes or Clipfinder for Red. But for P2 or AVCHD I guess L &T is the only means to get your rushes into FCP.

———————————–
Neil Sadwelkar
neilsadwelkar.blogspot.com
twitter: fcpguru
FCP Editor, Edit systems consultant
Mumbai India

[Neil Sadwelkar]

You could try changing motion effect sequence settings to best instead of normal.
Or, sent that shoe to Motion and adjust speed there. In Motion you can change the method to ‘Optical Flow’ to get super smooth slow motion.

By the way, what is the speed you need? Or percentage you need to slow to?

———————————–
Neil Sadwelkar
neilsadwelkar.blogspot.com
twitter: fcpguru
FCP Editor, Edit systems consultant
Mumbai India

[Neil Sadwelkar]

There’s this article I remember reading sometime about how, when RAIDs get past a certain size (in Tb) the chances of more than one drive failing simultaneously get higher.

I too have experienced this with old RAIDs – like 5 years old. We invest in RAID 5 with the impression that data is safe from drive failure.

But, in old RAIDs when drives get old, the chances of them failing simultaneously seems to get higher. I guess one needs set a life for a RAID as soon as one gets it, and after that time, consider every additional day a bonus.

———————————–
Neil Sadwelkar
neilsadwelkar.blogspot.com
twitter: fcpguru
FCP Editor, Edit systems consultant
Mumbai India