Pepijn Klijs
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It will be sluggish in that case. Resolve only sends a play clue, not a media stream or whatever. After the colorist hits stop the timeline of the client will sync up to the position of the colorists’ playhead.
Editor/Colorist, Amsterdam, The Netherlands
http://www.pepijnklijs.nl -
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Rightclick shot in timeline and choose ‘use local grades’
Editor/Colorist, Amsterdam, The Netherlands
http://www.pepijnklijs.nl -
This whole thing is explained in detail in the manual in case you want to know exactly how it works. But to put it simple, just rightclick any shot on the timeline and choose ‘use local’ or ‘copy remote grades’ in case you want to save what you did so far.
Editor/Colorist, Amsterdam, The Netherlands
http://www.pepijnklijs.nl -
If the first window tracks well on her face you can just use keyframing to change the grade within that window. You can even manipulate how fast the change is being applied.
Editor/Colorist, Amsterdam, The Netherlands
http://www.pepijnklijs.nl -
Thanks for the share Margus.
Did you notice the change to the 3-way color wheel window? It now has a contrast and pivot control, something that I’ve been using a lot lately from the log control window. Let’s hope they’ll map it to control surfaces as well…
CHeers
Editor/Colorist, Amsterdam, The Netherlands
http://www.pepijnklijs.nl -
I recently bought an Avid license as well. Here in Holland no one uses Premiere and FCP is slowly dying.
But I don’t see a lot of difference in workflow between fcp7 and avid when dealing with xdcam ex. I edited entire seasons of tv shows with xdcam ex and fcp7, and we always had to first go thru xdcam transfer before going to fcp. In avid I would bring ‘m n thru AMA and transcode and probably spent a few minutes extra with the benefit of having it in a more workable codec (dnxhd) from there on. MC v7 even transcodes in the background now.
Here in Holland Avid is definetely winning ground and Im expecting them to keep growing. It’s also a chicken and egg story; many editors don’t know Adobe Premiere so companies don’t invest in it if they want to work with experienced editors.
Editor/Colorist, Amsterdam, The Netherlands
http://www.pepijnklijs.nl -
Custom osx workstation…
Sounds better then Hackintosh!
Editor/Colorist, Amsterdam, The Netherlands
http://www.pepijnklijs.nl -
Thanks Juris! Another good solution!
But reading it also makes me think how badly Avid lacks the ability to do these simple things. It’s a good workaround, but it’s a workaround for soemthing that should be in any NLE these days.
Thanks!
Editor/Colorist, Amsterdam, The Netherlands
http://www.pepijnklijs.nl -
Thanks Mark, for the help!
[Mark Spano] “For that, I think you might need to nest the effected clip with a submaste”
Tried that already, doesn’t change the way Avid handles its layers. Same problem basically.[Mark Spano] “or simply do a video mixdown for the effect and apply the resize to that”
That is also not an option, cause the mixdown will not contain any alpha info, so you’ll end up with a mask on a black background that you’ll have to crop again, and to crop an oval shape you’ll need the animatte.
I’m actually beginning to think that there is no way of doing this in the Avid, which sucks pretty big. I wish Avid would have a little button inside the 3d warp or resize effects that says ‘apply to current layer only’, that would solve many issues. I actually remember now that it’s also difficult to use a push wipe on more then one layer. For example, if you try to make a push wipe transition between two shots that have a title on top of them, and you want title to wipe along with the image transition, good luck, I never figured out how to do it and ended up creating mixdowns. I don’t like mixdowns, they ruin the whole point of working on an Avid (media management etc). Sorry for the rant!
Editor/Colorist, Amsterdam, The Netherlands
http://www.pepijnklijs.nl