Paul Nordin
Forum Replies Created
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Encore has no problems working with DPX files.
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EMB Studios
http://www.EMBstudios.com
Emeryville, CA
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Feel your pain Andrew. I haven’t opened FCPx so can’t help you there.
Another option might be to transcode all the footage you are using in your sequence to DPX with AME, or with Squeeze via it’s watch folder. That’s probably what I would try. Then when all the needed original footage is transcoded, relink in PPro and you should be off to the races. A lot of extra steps, but should get you where you want to go without the headache of conforming the locked sequence in every NLE known to man. 🙂
If you can wait a couple weeks (assuming CS6 comes out in that time), this type of transcoding chore might be perfectly suited to Prelude?
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EMB Studios
http://www.EMBstudios.com
Emeryville, CA
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I also spent some time with Warren at the BM booth. Nice guy!
Yes, V9 does support alpha channels embedded in clips. He demoed this for me by bringing a greenscreen shot with alpha in Prores 4×4 and Resolve used the mask for a perfect key. Thats a very nice addition.
I didn’t think of asking about stills.
V9 looks great. Only one major item that I was somewhat disappointed by. The de-noise algorithms have not demonstrably been improved. Which is a bummer, as mostly I find it marginal at best, and mostly have to avoid using it when I would love to.
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EMB Studios
http://www.EMBstudios.com
Emeryville, CA
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I had this very problem recently with a hour long doc I am grading. Very complex edit locked sequence. Many mixed media types. All the things that make grading apps like Resolve unhappy. It was edited in FCP, but I wanted to master using PPro/AE/Resolve. So I did a FCP XML export and brought the sequence into PPro. That was moderately OK. Many of the keyframed image moves were screwed up (position, scale, rotation, etc.).
But I thought I could replicate them with some work.
Next step was to transcode the sequence to ProRes4444 prior to sending to Resolve. That’s where I was stopped. No good way to do this in PPro. There SHOULD be a way, but nothing I could uncover except brute force. And for an hour long doc, that’s not viable.
So I bailed on PPro and unhappily went back to FCP for mastering this project.
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EMB Studios
http://www.EMBstudios.com
Emeryville, CA
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As I understand it, the Premiere interface with Speedgrade is still at the file-based level (XML). So Resolve should be able to leverage any improvements Adobe makes to its support of FCP XML v5. Of course downstream if Adobe shifts that to an Adobe Bridge interface a-la After Effects, Speedgrade will be heads and tails easier to get timelines up and running (as long as its fed from a Premiere pipeline).
But we have to expect that Adobe will be forced to continue to ingest projects from Avid and FCP, so Resolve should have an on-going way to grow Adobe-based round-tripping.
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EMB Studios
http://www.EMBstudios.com
Emeryville, CA
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I’d say you need to work with more experienced a AE artists! All of those issues are operator errors, not inherent flaws with AE.
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EMB Studios
http://www.EMBstudios.com
Emeryville, CA
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I’ve got my ATTO R680 Iin my MacPro, and my ATTO H680 in my Cubix, which allows me to connect to esata drives. I am seeing about the level of performance I would expect from that card.
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EMB Studios
http://www.EMBstudios.com
Emeryville, CA
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Welcome to the wonderful world of NTSC Pixel Aspect Ratios.
NTSC m2v files are really only designed to be displayed via a DVD player. Software inside the player (whether a software player on your computer, or a DVD box at your TV) recognize via a setting in the video file that the image is designed to be played in widescreen format. So it “de-squeezes” it. There is no other way to put play widescreen SD material on a DVD.
This is all a trick that was developed by the broadcast powers that be to fit widescreen material on DVDs and NOT have to re-architect the hardwired FIXED NTSC SD resolution of 720×480. So they developed a technique to elongate the 720 pixels by ~21% which fits the 720 x480 pixels nicely in a 16×9 display.
So Pixel Aspect Ration. Read up on it and all shall be revealed.
For NTSC WS menus, again they should have a dimension of 720×480 and a pixel aspect ratio of 1.21. Mostly Photoshop will take care of this for you if you start by creating a new image using the NTSC Widescreen preset. Photoshop is smart enough to understand Pixel Aspect Ratios quite well. So using that preset it will elongate the image (desqueeze it), so you can edit on it and round things are round not eclipses.
NONE of this carries forward to HD (thank GOD!)
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EMB Studios
http://www.EMBstudios.com
Emeryville, CA
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On my PC, I’ve used MacDrive v7 for my iTunes library. When copying multiple streams of video (concurrent downloading of a rented movie, and syncing with my Apple TV, for example) MacDrive would hang and I’d have to run Repair Volume on the drive on my Mac before it would remount. With MacDrive8, I had the same problem. A few months ago I got fed up and reformatted my media drive as exFAT (read/write on both PC & OSX), and it works like a champ. It also does not require MacDrive.
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EMB Studios
http://www.EMBstudios.com
Emeryville, CA
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Well, what I ended up doing was pulling my master render into AE and changing the color space to Rec709. My renders from that comp match my grade in Resolve exactly.
Looking back, I may add a output LUT to my Davinci Resolve renders to do that transformation.
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EMB Studios
http://www.EMBstudios.com
Emeryville, CA
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