[Rosie Walunas]

Damn. That’s still too bad. Mostly been working in Avid the last couple years. I find it most helpful, for example, in Avid, if I need to add colors after the fact, like red this means something is wrong with the still or clip and it should not appear in the timeline, or the correct graphic could be colored green and then i can visually see in the timeline if the correct graphic is being used and where. I see that Premiere has a function that shows where the clip is being used int he timeline – which is great, but just not enough of what I need in particular. Just my workflow thoughts.

Thanks!

[Rosie Walunas]

Does this still hold true? I’m in CS6. I assume yes, but was wondering if a feature was added that I could change this so the timeline colors reflect the clip label colors. Thanks.

[Rosie Walunas]

I ended up finally finding Crazy Bump after hours of searching that day. Pretty difficult to find. Thanks. Hopefully this will help someone else.

[Rosie Walunas]

I ended up using CrazyBump to make a normal map out of a smudged image. It looks okay. I was hoping for something more clean and custom. My video, like his, pretty much looks like fogged glass or ice. Hopefully I can figure out something that looks more like what I’m going for. I think it’s a matter of the source image being near perfect. Thanks.

[Rosie Walunas]

Yes that’s the tutorial I mentioned by Andrew Kramer. It’s good, but he uses pre-maid displacement maps / mattes that are magenta and green to achieve that specific look. I’d need the mattes that have something like smudges and grease streaks rather than the foggy icy look that’s pre-built.

If there’s any elements like this to download for free or a way to achieve this from scratch in AE, it would be great to know.

[Rosie Walunas]

Do you also have QT Player Pro? Or just 7?

[Rosie Walunas]

My colleague says if I download the legacy QuickTime Player and then buy QT Player Pro, it will all work like before:
https://store.apple.com/us/product/D3380Z/A/quicktime-7-pro-for-mac-os-x

Can anyone confirm before I take that plunge?

Thanks.

[Rosie Walunas]

Cool, thanks. I appreciate it.

[Rosie Walunas]

Ok so this sounds pretty much the same for the most part. Except that it seems you might potentially need the camera raw files. Is this just for the audio? If the uprezzing happens in Avid, would you just need the Consolidated MXF media? Do you ever need the camera raw for video? When you’re done in Resolve, do you send back to Avid to layoff to tape or something for output?

I’m pretty curious because I see many job opportunities listing DaVinci prep or workflow, and I wonder how difficult it actual is compared what the job listing or producer makes it sound like. Once I got the hang of the Nucoda timeline prep, it became a breeze.

Any pit falls you’ve come across in the workflow? Mixed frame rates okay?

Thanks again.

[Rosie Walunas]

Never mind. I think I finally figured it out – that it’s the Ray-traced 3D quality that makes it grainy. I had it set down to 3.

But, while I’m working on this. What’s an acceptable render out quality without taxing the the system too much. Like I could ever 64 but that’s probably too much. 16? 32?

Thanks.