[Robert Olding]

I’m not sure if this is something that will work for you but give the application A Better Finder Attributes a try. It can change most of the metadata on any file you can throw at it. I just used it last evening on files from a MOS two camera shoot (iPhone 11 and a URSA Mini 4.6K). The URSA hadn’t been turned on in the last few months and its internal clock had drifted in the rears by 32 days. I usually connect it to a computer and use Blackmagic Camera Setup to sync its clock but forgot to before this shoot.

Anyway, A Better Finder Attributes changed the creation date and time on the files without having to render new files.

Robert Olding

Studio Eight | Director of Photography
https://www.studioeightmn.com
Minneapolis, MN

[Robert Olding]

Most of the time, I edit using FCP X. Occasionally I need to use Premiere because the client wants me to. When the client dictates the NLE, that tells me they’ll want all my files so they can change something later and not involve me. I rarely color in FCP X and never color using Premiere. I color using Resolve and it’s the last thing I do in the workflow. If I’m using FCP X, I’ll export an XML to Resolve. If I’m using Premiere I use a ProRes 4444 master file.

When a project gets passed off to another user, they’ll be using a different computer and monitor configuration than me, so no matter what I do color wise, it’s always going to look different.

Robert Olding

Studio Eight | Director of Photography
https://www.studioeightmn.com
Minneapolis, MN

[Robert Olding]

Color Management while editing and grading video is a difficult thing to get a handle on. It takes me back 20-25 years to the days of attempting to match color in the print world. I believe it’s still more art than science and compromise rules the day.

Yes, a user would think that all the applications using the same footage, on the same computer, viewing through the same monitors, should all look the same. Reasonably, I don’t see why they shouldn’t.

Here’s some good reading to help. Just be warned, you’re headed down a deep, deep, rabbit hole.

1. Taming Color Management

2. Colour Management for Video Editors

Robert Olding

Studio Eight | Director of Photography
https://www.studioeightmn.com
Minneapolis, MN

[Robert Olding]

If time is of the essence, I’d sync before editing.

Robert Olding

Studio Eight | Director of Photography
https://www.studioeightmn.com
Minneapolis, MN

[Robert Olding]

If you want to apply a LUT selectively to clips/cuts that are in the Timeline, you can use the “Custom LUT” effect. It’s found in the Effects browser.

Robert Olding

Studio Eight | Director of Photography
https://www.studioeightmn.com
Minneapolis, MN

[Robert Olding]

Yes, the Camera LUT setting in the Inspector applies to the entire clip regardless if any portion of it is in the Timeline or not. Its main purpose it to apply a look to LOG footage to get a decent color and contrast without having to grade.

Robert Olding

Studio Eight | Director of Photography
https://www.studioeightmn.com
Minneapolis, MN

[Robert Olding]

How are you applying the LUT? ( i.e. via an Effect or via the Inspector)

Robert Olding

Studio Eight | Director of Photography
https://www.studioeightmn.com
Minneapolis, MN

[Robert Olding]

So in plain words if I buy the DaVinci Resolve Studio 16 I get the Resolve Dongle and then I can access the FUSION 16?

Yes.

Robert Olding

Studio Eight | Director of Photography
https://www.studioeightmn.com
Minneapolis, MN

[Robert Olding]

Hi Varun,

Using a RAID on a Mac is simple and easy to do. I doubt you’ll have any issue setting it up.

I’d put all your footage on the 12TB RAID, use one of the LaCie drives for your FCPX Library and project files, use another one of the LaCie drives for the FCPX Cache. While editing, be sure to make proxies from your footage. This setup will certainly help with speed and allow for easier editing of 4K footage.

That leaves you with one LaCie drive free to do what you wish with.

You don’t mention how you plan to backing everything up, especially the footage.

Here’s the way we setup the drives for our main editing station. All of our external drives are connected via ThunderBolt 2.

1. 24TB RAID made from four 6TB disks. It is set to RAID 1+0. Our Mac sees this as a two disk 12TB RAID as the other two disks are 12TB mirrors. That way if one of the drives fail, the RAID continues to function and we don’t have to stop work.

2. 2TB RAID made from two 1TB SSD disks. This is only for the cache files created by the various applications used during post.

3. 24TB RAID made from four 4TB disks. It is set to RAID 0. This is set up as a Time Machine backup for our entire system excluding the drive used for cache files.

4. As extra precaution, our entire system excluding the drives used for the cache files and Time Machine get backed up to a server every night via Retrospect over an Ethernet connection. Once a week the files on the server are backed up to a Tape drive and the tapes our stored off site.

Robert Olding

Studio Eight | Director of Photography
https://www.studioeightmn.com
Minneapolis, MN

[Robert Olding]

Shot it at 25. Thanks Marco!

Robert Olding

Studio Eight | Director of Photography
https://www.studioeightmn.com
Minneapolis, MN