Rhys Sherring
1
COW Coin
Forum Replies Created
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Thanks for that info. I’ll have to look into how Premiere can sync audio en masse, i only know of its individual syncing.
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Ahhh. I see I see. Perhaps if I put the slow mo clip on its own timeline and exported that as ‘Single Clip’ i might get what i want then.
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Well it seems like I can get it to export as an AVI and MP4 h264, but it doesnt come out in slow mo, it exports the clip at its native 120FPS. I tried slowing doing render speed and losing the handles, but i got hit with the error again. I also tried going to clip attributes via right clicking it in the Edit tab, but the framerate is already set to custom, and when I try to make it 23.976, it doubles the slow mo so its too slow, because it was successfully imported from PPro’s XML as a slowmo clip.
The only time I got it to export successfully as a DNxHD Quicktime was when I went to the Edit tab and selected the clip specifically to Render Cache Color Output, if thats what you meant when you said cache it for playback Glenn? But again, it didnt export as a slow mo, it went back to native 120FPS. But that was the first time I successfully got it to export with the desired codec. Guess I can take that into Resolve and just re-slowmo it =/
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From the Project box, PPro is interpreting the clip at its native 120FPS. On the PPro timeline where its edited into, I had the clip’s ‘Speed/duration’ setting changed, so I put that back to its normal 100% and tried importing the XML into DaVinci again, but it still didn’t work. Again, I import the source file into Davinci’s media pool, right click the file on the timeline to ‘Find in Media Pool’, and still don’t get any results.
The clips in the source windows don’t match in either program. I had to re-cut the clip visually.
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Can’t say I’ve used Premieres in house proxys before. I shall take a gander. Cheers.
I have no idea what a wide gamut master is hah.
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Appreciate the effort in that reply, mate. Cheers. A lot of money (not to mention blood sweat and tears) is being invested into the film, so yeah, don’t wana buy $100 insurance on a $100,000 car.
RAID 5 seems to be popular. Few folks are against its single parity though, saying to instead go for the RAID 6 with its double parity for important media based data.
I’ve got USB 3.0 on my PC. I’ll have to talk to my tech guy to see whether a USB-C integration would be recommended. I would most likely be editing the feature from the RAID, so high reading speed would be beneficial, because i sure as hell don’t have room on the PC to put it all on there.
DroboPro seems to be thrown around a bit. I’ve also been suggested to buy four 4 TB enterprise drives to make a RAID 10.
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Feel free to point out which page its on.
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Excuse my lack of education, but what exactly is a mixed down wave file? Is that all of the projects audio merged into a single track? I guess that would work quite well, as long as all of the audio work is done. How does one go about creating a quality mix down?
Do you then perhaps duplicate the master PPro sequence, delete all of the audio and put the single mixdown track on it so there’s just the single audio track when its XML’d into Resolve? This is with the notion that the colour and final encode is all completed in Resolve.
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Food for thought. Seems to be a practice with many options.
Thanks, guys. Appreciate it.
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Unfortunately I’m working from a PC and don’t see any ProRes codec options available. Is there any difference in going with a Quicktime Format >TIFF codec, compared to just going straight TIFF format?
Whats the advantage of keeping an alpha channel intact anyway?
Thanks, mate!