Ronald Anderson
Forum Replies Created
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Your suggested workflow would work if indeed you were working with the original media in FCP, rather than a completed Quick Time of the show. Have you thought about importing the Quick Time into Resolve, and using the scene detector to cut it up? Or, if you could get an EDL from the editor, the resolve would reverse conform it to the Quick Time. best to you…
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Have completed several 3D projects on other system, but am testing 3D with Resolve presently.
The side by side grading is terrific, with two 2K live streams. Convergence adjusts are working, with aspect, ie pincushion adjustments coming soon, I am told. -
Should work just fine. Don’t think there’s a limit, unless the graphics card can’t shot the entire size. It probably works as well as 4K. Just rendered a large 4K Red job about 6 times faster than Apple Color, without a Red Rocket card. WOW!
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Hello Valeria,
IF this is a finished edited piece, sounds like it since you have an EDL, I would ask for a CMX 3600 EDL, Non-Drop Time Code only for now, and a Quick Time of the finished show. Resolve imports both and cuts up the Quick Time perfectly. This way you do not have to worry about any plug ins, for effects, that were used in the edit, because everything is baked into the QT. Hope this helps. -
Hi Chad,
Soon to get my copy of Resolve, for testing purposes. Will let you know more as I get into it. Davinci has always been more EDL based, but am expecting more development from Black Magic for Final Cut projects.I have used Apple Color for several documentaries, and use the Automatic Duck software to bring in the AAF files along with the media. The only fly in the ointment using this method is that any “plug-ins” used in the Avid do not necessarily come through. I also request an uncompressed Quick Time of the show, to drop in anything that does not come in correctly. Sometimes it is easier to just use the EDL as a guide, and cut up the Quick Time in Final Cut manually, ouch… The new Avid software can now work with the Pro Res codec, which really helps, not having to use Compressor to make DNX 220’s.
Ciao, Ron Anderson
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It is my understanding that the Linux version of Resolve will also operate with the older 2K panels via a 9 pin connector. Now that may be a way to save a few dollars if you could find a second hand set of 2K panels. I am thinking of an A /B switch in a Spirit room to run Resolve and telecine as a dual function suite.
With more projects being cut on Final Cut these days however, Resolve has to support Pro Res, and be able to round trip the color project to FCP. Hopefully this functionality will follow soon. -
I already spoke with the folks at JLCooper, and they are anxiously awaiting the info from Black Magic so as to interface the Resolve with their Eclipse panel. I still work with the 2K panels on a Spirit everyday, but also drive a Scratch using the Tangents, and the Wave, and JLCooper with Apple Color. I tested the Euphonix with Walter Biscardi a few months ago. The track balls and luminance rings have a nice action for grading, but was not happy with the lack of LED functionality. Had to keep the software’s description page open to see how to navigate the various functions. The JLCooper, on the other hand has a terrific display, and many programmable key functions, that I labeled myself. The Wave works well, but there again, my wrist got tired after a while from having to use the mouse too much when working on a large project. I have been coloring for 30 plus years now, and am way excited about the Resolve news from Black Magic!
I am presently testing some Red footage on the Linux version with the Resolve panels with Film Systems on the East Coast here in Alpharetta, Georgia. Now that’s the way to go if you can. Using the Resolve panels are not much different from the 2K panels. -
I am very excited about this announcement from Black Magic! As a lifelong DaVinci user, it’s really fantastic news! Thank you Grant Petty, and Black Magic.
Am soon to try to interface the Resolve Linux based software with the 2K panels. Will let you know as things progress. Also very interested in working with my JLCooper panel when the Mac version is ready. Will be in touch with JLCooper to inquire into their efforts to interface with Resolve this week. I have also worked extensively with the Wave, and the large trio of Tangent panels, which are terrific. For the money the JLCooper seems the most robust, and versitile. The Wave still requires a lot of mouse or pen and tablet moves. The Euphonix does not have enough programmable features or leds. Had to keep the software interface open to see what controls what.