[Ola Haldor voll]

I find this interesting. From the readme of the new Decklink 7.9 driver.

What’s new in DeckLink 7.9
• Support for the all new DeckLink HD Extreme 3D

All new ?

[Ola Haldor voll]

Does the packaging say “+” ? Or how do I determine whether mine is + or not ?

[Ola Haldor voll]

With the powerful tracking tools, I can’t see it’s that much of a problem though. The shots I’ve been tracking for now has been shots I usually would’ve created a ton of keyframes on in Color. The few times I keyframe things (called Dynamic in Resolve) is for changing things like luma or RGB settings over time.

Example, on a day for night shot of an explosion I did that.. But it was still less work than it would’ve been with Color.

[Ola Haldor voll]

I’m working on a 24″ 1920×1080. I’m used to working on a 1920×1200 – that’s a huge difference, believe it or not.

I’m not sure I’d go for a 30″ for the Resolve interface. I’m not looking so much on the interface as I’m looking at the result on the video monitor.

Unless you’re sitting miles away from the monitor or can’t control what’s going into the suite you’re working on, I’ll keep a safe bet on 24″ or so.

[Ola Haldor voll]

The manual says such conflicts occur when there’s multiple clips share the same time code, or is lacking certain meta data so they seem similar.

You’ll get a thumbnail list of available clips that one clip is in conflict with, and you simply click the one you want. If you find you chose the wrong clip, you can right click the icon again and choose another one.

[Ola Haldor voll]

I’d say “no problem, but..”. I’ve done similar things before. Autumn for summer. Looks cool, looks great, but somewhat synthetic.

It’s possible. Just spend enough time with it.

Good luck!

[Ola Haldor voll]

I’ll be grading a 10 minute docu/sales pitch tomorrow or wednesday in 444. I’ll get back to you on this.

[Ola Haldor voll]

That sounds like pure logic to me.

[Ola Haldor voll]

Second client in for a drill now on what Resolve can do for his production. He asked a few questions like “how is it compared to Color?” In return I opened a project with RED RAW and 10 nodes. “Can Color do this?” 25fps playback with sound. Client goes “woooooah!!”

I opened another project where I’ve just come to a scene where I need to track the talents head. New node+CPW, adjust colors on the inside and hit the Track Forward button. Tracking goes blazing fast, and the client is almost doing it in his pants.

The client gives me a memory stick with an MP4 file. I convert it to Prores in the blink of an eye and takes him through the Scene cut feature. His smile goes so wide I was afraid his head was falling off. And there I was, grading a proxy of his darling project within 10 minutes after he showed up. WITH SOUND.

Impressed and happy, he quickly gave me the gig and I’m grading on a proxy until he’s coming back to give me the full quality commercial.

Could I sell this to him without sound? Absolutely.

Did he appreciate the fact that he could enjoy the sound design he had paid loads for while watching the grading going on? More than words can tell!

[Ola Haldor voll]

Tested with the built-in iSight on my MacBook. Hahaha.. That was incredibly responsive compared to the built in scopes in Resolve. I’ll hook my 2009 to the 2008 and test further. Can’t wait!