Sascha Haber
Forum Replies Created
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Yep, both is correct and the only smart way to work with RED.
Until, of course the edit changes hit the floor and your “locked edit” is full of holes and the guy doing the red delivery on a tropical island 🙂
So if you do this, at least add 50+ handles.A slice of color…
DaVinci 7.1.2 OSX 10.6.7
MacPro 5.1 2x 2,4 24GB
RAID0 8TB eSata 6TB
GTX 285 / GT 120
Extreme 3D+ WAVE -
Or at least keep the one I have..
Right now its always reset to default, which is…pfff…a little cumbersome to rebuild all the time.A slice of color…
DaVinci 7.1.2 OSX 10.6.7
MacPro 5.1 2x 2,4 24GB
RAID0 8TB eSata 6TB
GTX 285 / GT 120
Extreme 3D+ WAVE -
Yes, that might be the problem.
Its a big feature wish right now and hopefully we will see it in the future.
For now, keep am clean if possible and supply the matte as external file with the same timecodeA slice of color…
DaVinci 7.1.2 OSX 10.6.7
MacPro 5.1 2x 2,4 24GB
RAID0 8TB eSata 6TB
GTX 285 / GT 120
Extreme 3D+ WAVE -
Thing is, the database gets very busy when you have 1500 shots or so in one project.
It takes much more time to save and autosave.
Keep it to max 500 shots and all is well.
Its also much easier to navigate.
When you are done setting up the reels, render everything and make one new project, using those outputs.
So you can provide a full playback movie but work organized in reels.A slice of color…
DaVinci 7.1.2 OSX 10.6.7
MacPro 5.1 2x 2,4 24GB
RAID0 8TB eSata 6TB
GTX 285 / GT 120
Extreme 3D+ WAVE -
That looks like my future configuration then.
Your patched 470 performs like a Dual 4000 Cubix it seems, well done 🙂A slice of color…
DaVinci 7.1.2 OSX 10.6.7
MacPro 5.1 2x 2,4 24GB
RAID0 8TB eSata 6TB
GTX 285 / GT 120
Extreme 3D+ WAVE -
Actually this might be a good thing.
You don’t have the hassle of dealing with multiple source.
The only thing you need is either to preconform and split or to scene detect and split.
The fun starts when you have cross dissolves, but there are numerous techniques to circumvent or handle them.
One is you cut at the dissolve point, make a second track and have an ungraded version of the clip fading into a graded one of the next.
I am using this construction with music videos sometime when I just get the “final” file.
But if they do this, insists on a LOCKED edit, and charge extra if they change their minds.A slice of color…
DaVinci 7.1.2 OSX 10.6.7
MacPro 5.1 2x 2,4 24GB
RAID0 8TB eSata 6TB
GTX 285 / GT 120
Extreme 3D+ WAVE -
Is there a way to keep those connections when relinking media from another drive ?
We are having a 3000 shot movie with up to 100 matte links, broken down in 6 reels.
When we want to work on the project on the other system, we can easily (well 😉 relink the media, but the matte links are all gone.Is there any way to prevent Resolve from loosing the connections ?
Like naming both storage places the same ?A slice of color…
DaVinci 7.1.2 OSX 10.6.7
MacPro 5.1 2x 2,4 24GB
RAID0 8TB eSata 6TB
GTX 285 / GT 120
Extreme 3D+ WAVE -
The GUI card really helps, especially on an older system.
The GT 120 comes for very little money, is totally silent and discreet.
Just get one, its a no brainer.
But…if money is not a point, get a Quadro 4000, a Y cable and run the best possible internal solution.
Kickass GUI , Premiere, CAD, AVID..and good performance for Resolve.A slice of color…
DaVinci 7.1.2 OSX 10.6.7
MacPro 5.1 2x 2,4 24GB
RAID0 8TB eSata 6TB
GTX 285 / GT 120
Extreme 3D+ WAVE -
Holy jumping…wow…
Now thats impressing I say.
So in other other words, its like 4 times as the standard configuration.A slice of color…
DaVinci 7.1.2 OSX 10.6.7
MacPro 5.1 2x 2,4 24GB
RAID0 8TB eSata 6TB
GTX 285 / GT 120
Extreme 3D+ WAVE -
The question is, how many cores per card are supported by Resolve and by OSX.
I am hoping for some Hackintosh friends and patched 460 cards to share results too.
I have a suspicion its not only cores that matter.A slice of color…
DaVinci 7.1.2 OSX 10.6.7
MacPro 5.1 2x 2,4 24GB
RAID0 8TB eSata 6TB
GTX 285 / GT 120
Extreme 3D+ WAVE