Ryan Holmes
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COW Coins
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You can program the MC Color in the EUCON control panel. Each button can be mapped for whatever you deem necessary. There are 9 “F” keys on the panel. Each one has a function. Then there are “Bank 1” and “Bank 2” keys which add additional functionality to the 9 “F” keys. So F1 may add a serial node, Bank 1 + F1 may add an outside node, and Bank 2 + F1 may delete the current node (if you wanted it set that way).
I imagine you could program the Control Panel for what you’re talking about, but I don’t see how you would actually drive Resolve with that surface. For example, you may be able to set a touch area to activate a power window, but you won’t have the ability to zoom, rotate, pan, tilt, soften, increase saturation, lift, gamma, gain, etc. within the vignette from the surface. Or you would have to map even more menus are and touch settings. At which point the control surface isn’t doing you any good. It’s slowing you down. The MC Color provides controls for activating a feature and then actually color grading using that feature (i.e. power window, outside node, parallel node, etc.). It seems like you’d be doing more work forcing the Avid Control Panel to “act” like a Color Panel.
Long story short if you already have a Wave I don’t think you’re gaining much by switching to Avid. They are very, very, very similar. But if you got money to burn….
Ryan Holmes
http://www.ryanholmes.com
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I use the Avid MC Color. At the price point it’s at I prefer it over the Tangent panel. The build quality is exceptional, response is pretty good via ethernet and the layout can be customized if necessary. There is no touch display on the MC Color. Every major function can be driven from the panel. It’s made me a more efficient colorist.
I’m not sure how you would use the Avid Artist Control with Resolve (as per your post). The Artist Control panel, from my understanding, is geared more towards the audio side of things (ProTools, Logic, Nuendo, Cubase, Maestro, etc.). I imagine you could bend it to fit Resolve but it’s not made for that. The MC Color obviously is. I would and do recommend the MC Color.
I thought about the Avid Artist Transport, but I didn’t get it. I don’t currently feel like it would give me much added benefit. Plus it would take up more space on my already cramped desk.
Ryan Holmes
http://www.ryanholmes.com
vimeo.com/ryanholmes -
@ Rafael – all that approach does is put XDCam footage in a timeline with ProRes as the codec of choice for rendering/exporting. Your final export will still take longer and I don’t think XDCam EX plays as well with FCP as ProRes does (i.e. smooth playback, stalling, more rendering for effects, etc.)
I agree with Richard – ProRes plays better within FCP7 and export times are reduced. Additionally, if you plan on doing any color grading, compositing, or vfx work I would always recommend ProRes over XDCAM EX. However, if you have hours upon hours of footage the up front hit to transcode all the to ProRes may offset any gains. Especially if all you’re doing is a simple cut/dissolve style edit.
Ryan Holmes
http://www.ryanholmes.com
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Do you have the ProRes codec installed on your machine? You can follow these steps to install the ProRes codec on your machine: https://blogs.adobe.com/VideoRoad/2011/09/prores-codecs-now-a-free-download.html
Do you have a PC? If so, you can only read ProRes files. You can’t write ProRes files(i.e. make a QuickTime movie. Anyone, please correct me if this is changed!
Ryan Holmes
http://www.ryanholmes.com
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It’s pretty straight forward really. Just chose your sequence, and go to File–>Export–>Media…
That will launch an “Export Settings” dialog box. This is where you chose your settings. For “Format” you can choose “QuickTime.” Just below that you’ll notice an “Output Name” area. If you click on the name it will prompt you to chose a new save location as well as what you want to call the file. You can leave all this if you want, just make sure you now where your file is going.
Then look down below the summary section and you’ll see 4 tabs – Filters, Video, Audio, and FTP. Under the “Video” tab you can set the video codec (i.e. ProRes), the resolution (1280×720, 1920×1080, etc.) as well as the frame rate and field order. Under the Audio tab you can chose what codec you want to use there, if any.
Once that’s done, chose “Export” at the bottom of the dialog box and it’ll make a QuickTime movie file based on those settings.
Ryan Holmes
http://www.ryanholmes.com
vimeo.com/ryanholmes -
If you need to transcode them just do what Jeff said above. You won’t be using FCP since you don’t have the exact card structure anymore. You can use MPEG Streamclip, 5DtoRGB, Quicktime Pro or Compressor to transcode. Just open the .MOV file and go to work.
Ryan Holmes
http://www.ryanholmes.com
vimeo.com/ryanholmes -
If you haven’t shot yet, then just make sure your frame size and frame match between each camera. That will save you some headaches before you get to post.
If you want a 1080p30 project make sure both cameras are set to that. Or if you’re doing 1080p24 set both cameras to that. Be careful if choosing 24fps on the XA10 – 24p Progressive is actually recording a 60i format and using an algorithm to get to 24. If you chose Native 24p then you’ll be recording 24fps in a native (i.e. no interlacing or pulldown) format.
https://en.wikipedia.org/wiki/24p#60i_to_24p_conversions
Ryan Holmes
http://www.ryanholmes.com
vimeo.com/ryanholmes -
Glad it worked. It takes a little messing with it to get what you need, but it’s saved my butt a couple of times when XML’s or EDL’s don’t link correctly. It’s a great tool and the price is spot on!
Ryan Holmes
http://www.ryanholmes.com
vimeo.com/ryanholmes -
What OS are you running? There’s been wide spread problems reported regarding 10.7.3 and apps crashing upon launch or shortly thereafter:
https://www.theverge.com/2012/2/2/2766036/mac-os-x-10-7-3-update-sever-app-crashesRyan Holmes
http://www.ryanholmes.com
vimeo.com/ryanholmes -
Like Kevin said, you have to either (1) Use the scroll bars on the right side of the timeline in a traditional click fashion, or (2) Hover over the scroll bars and scroll with your mouses scroll wheel.
FCP7 had a better scrolling interaction to be sure, but you’ll get used to it. Or, if you’re like me, you’ll just curse every time you have to move your mouse all the way over to the little scroll bars just to do a simple scroll.
Ryan Holmes
http://www.ryanholmes.com
vimeo.com/ryanholmes