[Rodrigo Silvestri]

No need to suppose anything, this can be easily found out with a simple Google search.
BTW I installed a GTX480 in a friend’s Hackintosh.

What I don’t know is about that new “Fermi” architecture, newer than the one of the 285. I don’t know if it’s just an internal “electronic” change or if it also changes the way the card interacts with the OS and software. In the latter case it would be logical to think of a “core” incompatibility with Resolve.

I’ll investigate and post results whenever I have them.

Thanks,
Rodrigo.

Just a little comment about Hackintoshes: The fact that most of them are not as stable compared to an original Mac is related to the way people configure and install the hardware and drivers. “Perfectly stable” Hackintoshes can be built, but it needs a deep level of understanding when installing it, and a lot of free time.

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Some people seem to love getting angry. I don’t 🙂

[Rodrigo Silvestri]

Oh, got it!

Thanks,
Rodrigo.

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Some people seem to love getting angry. I don’t 🙂

[Rodrigo Silvestri]

[Christopher Tay] “For the GPU cards, it either the NVIDIA GTX285 or NVIDIA Quadro FX4800.”
I mean, have you actually tried any other card? Do you know if Resolve “ignores” other cards? Or is your statement just based on the “certified hardware” list?

[Christopher Tay] “To be honest, if you are planning to setup the Resolve as a full time grading system with clients sitting next to you, go with the certified hardware specification. The last thing you need is the system crashing sporadically which makes you look bad in front of the client and then words spread around that Resolve is unstable and constantly crashing. That’s one area that will give a bad name to the product.”
I think this is obvious, no need to clarify that. Neither Blackmagic nor me want my computer to crash in front of clients. If they wanted, they could make a script that doesn’t even install in “FX4800+GT120+SuperDrive+6or12or24GBofRAM+ACD+ACD+I/Ocard+RAID5setup” computers.
And I assume they understand what they are doing when selling their product at this price.
My plan is to start learning, but I’ll probably not work with it at home but at some studios I work with (which have certified hardware).

Rodrigo Silvestri.

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Some people seem to love getting angry. I don’t 🙂

[Rodrigo Silvestri]

Basically, the the important thing is to have a neutral and non-distracting environment. This means: no lamps, design objects, curtains behind or besides the displays. “Neutral” would mean that the color of the background is the same as the color of a medium gray shown in screen. Considering your display/monitor is correctly calibrated, the color temperature your eye should see on the background is 6500ºK.
This would typically mean: 6500ºK lamp + GRAY background. And Gray means that the surface of the background reflects the same color that arrives to it.

There are lots of discussions about which paint is real medium gray. For painting my background, I went to a paint store with new Kodak and Fujifilm gray cards (used Kodak’s card, Fuji’s is a little warm :S), compared the colors from a color samples book (I asked them to show me the newest book), bought the paint.
At home, I painted the background and then used my i1Display 2 to measure the background:
Using the light diffusor, I first pointed it to the light (which is 6500ºK), and then pointed it to the reflection (which also measured 6500ºK, this meant it was the correct paint).

There are many different positions about environment lighting and all that, I know colorists who position a gray card near the monitor, lightened with a custom calibrated 6500ºK light, others who directly don’t use any kind of reference (completely dark environments, mainly when grading DIs).

Luck ^^
Rodrigo Silvestri

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Some people seem to love getting angry. I don’t 🙂

[Rodrigo Silvestri]

I did this before with other projects (most of them coming from AVID).
I tried so many things that now I don’t remember what happened with each one. I know I sent the project to Color to then generate an EDL but it showed an error (when trying to export the EDL). This might be because there is some mixed footage, stills, etc. I want to kill someone 😛

The problem here is that clips don’t have reel names, so I cannot even export an EDL from FCP. I tried adding reel names but it seems that there is some other info missing.

I found this app, EDL Toolkit:
https://www.frogsoft.com/edl_toolkit.htm
which lets you edit EDLs and do a “Move record time to source time”, which technically converts the EDL to a “cut list”.
It is useful when the sequence is more “standard” and has reel names, TCs, etc.

I ended using my Logitech G13 keyboard to automate lots of CTRL-V, DOWN ARROW macros so I load the exported clip on top of the original sequence, press the button a few times and voilá (I then check everything is in place).
Then I have to add some shots I separated (for every cross dissolve), clean the tracks, and send to Color.

Works fine for now, already graded 25min ^^.

Thanks for everyone!
Rodrigo Silvestri

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Some people seem to love getting angry. I don’t 🙂

[Rodrigo Silvestri]

Thanks Mike, I didn’t remember of that way.

Anyway, I found QTchange, a little app for batch modifying QT metadata, adding TC, etc.

^^
Rodrigo.

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Some people seem to love getting angry. I don’t 🙂

[Rodrigo Silvestri]

[Shane Ross] “H.264 is NEVER to be used. Ever. That is the base camera codec, and one for final delivery…”
I DPed a short film with a 5D last year and I was going to do the post-production. As soon as I came home with the drives, I converted Everything to ProRes and deleted the camera files, LOL.

Color takes H.264 files and seems to handle them OK. The big problem is that playback is slow, and it has a longer lag to start/stop playback. Scrubbing is impossible. That’s why I asked the director to start preparing the project for exporting two video files, one with the base layer and one with the extended clips that have cross dissolves.

[Shane Ross] ”
Bill for each and every hour it takes you to clean up this mess.”
I’m doing it 😉

Thank you.
Rodrigo Silvestri.

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Some people seem to love getting angry. I don’t 🙂

[Rodrigo Silvestri]

I asked something similar in the Color forum and got some interesting answers:

https://forums.creativecow.net/thread/223/17841

If you use a really cheap enclosure, it might cause problems, but check reviews and get something not too cheap, and it’ll be OK.

Rodrigo.

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Some people seem to love getting angry. I don’t 🙂

[Rodrigo Silvestri]

I’m just the colorist :P, met this project yesterday.

Anyway I’m used to incompatibility issues, using EDLs as cut lists, etc. I mean, lots of projects come from Premiere or AVID or complex situations that I just ask for one file and one EDL.

I didn’t know of that way of importing H264 to FCP.
I understand the proxies were made in Compressor, edited, and then reconnected to the original files.
I don’t have the project here, but I can ask the editor how he did this.

If the footage was ingested through log and transfer, would that be helpful for what I want to do? Or should I just stick to the one-file-ingest and manual cut?

Thanks!
Rodrigo Silvestri

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Some people seem to love getting angry. I don’t 🙂

[Rodrigo Silvestri]

[Adrian Roup] “If your offline edit is locked can’t you just output a ProResHQ of your time line and then bring that back into Color?”
Yes, the problem with this is that I need every clip to be separate. So I need to remove all cross dissolves, fade ins/outs, then separate those clips with cross dissolves (to an extra sequence), extend them in the timeline so I have the footage needed to then reapply the filters later.
Then export and convert everything to ProRes HQ, then use the original files to cut the new files again, reconform all the edits and transitions, and theeen send to Color.
I think this is what I’m gonna do (I’ve already told the director to start doing all this, preparing the sequences, etc).

[Adrian Roup] “Another option would be to copy everything that’s on your timeline and paste it into a new BIN in Final Cut – you’ll then effectively have an EDL referencing your used media – it might be possible to re log and transfer the footage (into ProResHQ) using this BIN…”
Log and Transfer tool says that the folder structure is not compatible. I found no ways of importing H.264 footage to Final Cut directly (and have a “trimmable” sequence), you need to make the proxies or just convert everything to ProRes HQ (or ProRes) and get rid of the H.264 footage.

Hope Apple surprises us with Final Cut Studio 4. If it is ever released, then I believe FCP will have native H.264 editing.

Thanks
Rodrigo Silvestri .

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Some people seem to love getting angry. I don’t 🙂