[Sascha Haber]

[Chad Terpstra] “- Infinite blur radius in qualifiers”
+2
I really really need this…I need to shift the project over to Scratch for big blurs still

[Chad Terpstra] ” More keyboard shortcuts”
+2
Yes, thats why AVID rocks

[Chad Terpstra] “I miss the big red bar”
(for linked clips)
+1 me too

My wishes:

+ sync gui with 3rd-party controler (wave etc)
Yes, I would also like to see the value that changes ON the Element, so I can just dial in a number I am used to
Bidirectional communication would be kick ass

+ please make the viewer window moveable to an other screen (like scopes) or let me use the grading-monitor as viewer
Will not happen, We all know why

+ short cuts for direct access to nodes (by numbers)
Like on the big panel, yes

+ 3d-keyer
Or third party keyers

+ more options on top of the tabs instead of content menue
e.g.: direct reset button instead of clicking menue icon and then selecting reset, direct choose of curvetools
yep, good idea

A slice of color…

DaVinci 9b3 OSX 10.8
MacPro 5.1 2×2,4 24GB
RAID0 8TB
GTX 470 / Quadro 4000
Extreme 3D+

Colorist / Aerial footage nerd
https://vimeo.com/saschahaber

[Sascha Haber]

My guess is that Resolve uses a different flavour of Cineform than the GoPro camera does.
And the free GoPro Studio is only licensed to work with the original files from the cam.

A slice of color…

DaVinci 9b3 OSX 10.8
MacPro 5.1 2×2,4 24GB
RAID0 8TB
GTX 470 / Quadro 4000
Extreme 3D+

Colorist / Aerial footage nerd
https://vimeo.com/saschahaber

[Sascha Haber]

If only the cache would be a permanent solution.
But it gets invalidated as soon as you leave the project.
So its quite unusable for long term projects where you wanna pre-render a full act or movie to be safe for presentation.

I also have the problem that very often the cached images only give me a black screen.
I need to invalidate the cache to get it back.
Same problem I had in Resolve 8
Right now there is a bug in R9b3 where the CACHE directory gets lost when adding a new timeline of sometimes just changing timelines.
I think I pasted it in 30 times now 😉

Also one should be able to shift select a group for processing to disk, but only single clips allow that feature.
An IO selection would be great too.

A slice of color…

DaVinci 9b3 OSX 10.8
MacPro 5.1 2×2,4 24GB
RAID0 8TB
GTX 470 / Quadro 4000
Extreme 3D+

Colorist / Aerial footage nerd
https://vimeo.com/saschahaber

[Sascha Haber]

Yes, I totally agree, this is an important thing to fix.

I am also working on a movie shot over 40 days and I have proper reel IDs based on the Alexa file names.
When switching to C Mode one would expect it would first sort by reel name and then by time code .
This would enable me to see the shots next to each other and work on the colors respectively.
But it just sorts it by time code so they shot are all over the place because every day uses basically the same time code from 10:00:00:00 (start of day) to 20:00:00:00 (end of work day )

So what we need is the function to sort like this

1. A055C002_120508_R348 – 10:00:00:00
2. A055C002_120508_R348 – 11:00:00:00
3. A055C002_120508_R348 – 14:00:00:00
4. A055C005_120508_R348 – 10:00:00:00
5. A055C005_120508_R348 – 13:00:00:00
6. A055C005_120508_R348 – 18:00:00:00
…

and so on… First reel ID, then timecode

Here a snapshot to illustrate the problem, the timeline is fragmented

thanks in advance 🙂

Another thing is that if you press play in C-Mode, Resolve stills plays back in A-Mode.
The makes it a little hard to judge similar shots back to back

A slice of color…

DaVinci 9b3 OSX 10.8
MacPro 5.1 2×2,4 24GB
RAID0 8TB
GTX 470 / Quadro 4000
Extreme 3D+

Colorist / Aerial footage nerd
https://vimeo.com/saschahaber

[Sascha Haber]

Did you try the big panel ?

A slice of color…

DaVinci 9b3 OSX 10.8
MacPro 5.1 2×2,4 24GB
RAID0 8TB
GTX 470 / Quadro 4000
Extreme 3D+

Colorist / Aerial footage nerd
https://vimeo.com/saschahaber

[Sascha Haber]

Ahhh , so we are talking Arri Raw now ?
Well, 80 TB is something..
But even if they encode everything to 3k DPX it won’t be more than 4TB if you go for selected takes.
My point was , it needs some planing to not get lost in the data jungle when doing a feature, and simulating it on a 5 min piece can be the difference between a smooth ride and a vacation in post pro hell 🙂

A slice of color…

DaVinci 9b3 OSX 10.8
MacPro 5.1 2×2,4 24GB
RAID0 8TB
GTX 470 / Quadro 4000
Extreme 3D+

Colorist / Aerial footage nerd
https://vimeo.com/saschahaber

[Sascha Haber]

You did not do your job then…neither did your colleague , the post producer.

A slice of color…

DaVinci 9b3 OSX 10.8
MacPro 5.1 2×2,4 24GB
RAID0 8TB
GTX 470 / Quadro 4000
Extreme 3D+

Colorist / Aerial footage nerd
https://vimeo.com/saschahaber

[Sascha Haber]

I not add another round of encoding to already existing ProRes.
Either ask for the original Alexa files used and reconform
or ask for DPX.
Maybe show them a test how double encode will look .
If they dont care, why should you 🙂

A slice of color…

DaVinci 9b3 OSX 10.8
MacPro 5.1 2×2,4 24GB
RAID0 8TB
GTX 470 / Quadro 4000
Extreme 3D+

Colorist / Aerial footage nerd
https://vimeo.com/saschahaber

[Sascha Haber]

Yes, this is a valid request which would make the excellent multitimeline even better .
Especially now where more and more interesting formats like DNG and EXR are state of the art, I am avoiding editing in Avid more and more..

A slice of color…

DaVinci 9b3 OSX 10.8
MacPro 5.1 2×2,4 24GB
RAID0 8TB
GTX 470 / Quadro 4000
Extreme 3D+

Colorist / Aerial footage nerd
https://vimeo.com/saschahaber

[Sascha Haber]

Or just sync (delay adjustable) to the SDI out.

A slice of color…

DaVinci 9b3 OSX 10.8
MacPro 5.1 2×2,4 24GB
RAID0 8TB
GTX 470 / Quadro 4000
Extreme 3D+

Colorist / Aerial footage nerd
https://vimeo.com/saschahaber