Paul Golden
Forum Replies Created
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Are you asking if you can export just the b-roll without having the primary storyline footage? Resolve, AFAIK, does not recognize roles from XML and just puts secondary material on its own track. You can reference the original source clips in Resolve without having to correct a baked movie.
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Well another FCPX update has come and gone with no support for image sequences at all. If you work in VFX, animation, time-lapse or have a camera that shoots image sequences, then native support is really big. Seeing thousands of individual files in the browser and having to manually construct them in compound clips is really dopey. Motion knows about image sequences, why not FCPX. Apple: please fix this. (I’ve filed numerous feature requests. Some actually have worked!)
On the score of Cinema DNG, does anyone know if it’s up to Apple or BMD to make Cinema DNG raw interpretation work in FCPX? I would assume that BMD has Resolve, so little incentive to spend time getting FCPX to work, but correct me if I’m wrong. On the other hand, RED is not joined at the hip to Resolve, so maybe that’s why we have RED Raw inside FCPX. Any thoughts on whose job it is to get Cinema DNG working in FCPX?
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If you’re both not on a post 10.2 version, then XML transfer of color board effects may not work. I tried it on my end and it works fine, so make sure you’re both using the same version. It’s a pretty huge structural change and XML may not be backwards (or forwards) compatible in this regard.
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Do you mean that your colleague had color board “effects” assigned to the clips but that there were no adjustments within the effect?
BTW, which version of FCPX are you and your colleague using? The Color Board changed in 10.2 to being a Effect from being just a General Setting.
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Use the General setting for XML 1.5. Your Color Board settings should translate back to the other person.
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Photoshop is really never a good way to do extensive roto because hand painted frames vary wildly from one frame to the next, especially on geometric shapes like signage. The best results come from the fewest elements and the least number of key frames.
In addition to Mocha, which does an excellent job with the kind of thing (and comes free with After Effects), if you have the new AFter Effects CC, you might check out the the new track mask function which works well for this sort of thing.
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Did you try connecting the computer to the monitor via USB and then connect the calibrator to the monitor via USB? You can’t connect the calibrator directly to the computer.
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You have to connect your monitor to the computer via USB and then put the calibrator into one of the USB ports on your monitor. You can’t connect the calibrator to your computer’s USB port directly.
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Hi Dwaine
Have you tried something as simple as sending LTC from a Sound Devices 744 (or other standard location audio recorder) to the BMCC? We tried a test where we shot a TC slate and sent the audio TC to the camera. We’ve tried all permutations and can’t get Resolve 9.1.5 to regenerate the timecode to match the reference audio track audio time code. If you click the replace TC command nothing happens. I would expect the TC numbers to change, but the cursor just jumps to the head of the timeline without any other result. I’ve tried this RAW or ProRes, one channel or two with TC and it doesn’t matter. What’s the secret sauce here? Is there a specific way it needs to be laid down in order for it to work? Thx…