Thomas Wong
Forum Replies Created
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does the ati card use both gpu power cords built into the mac? the quadro 4000 needs one too, and I believe those stock ATI cards use both power cards if I’m not mistaken. if the quadro doesn’t have the additional power, it might explain why it’s just getting powered up enough by the mobo but not enough to spin up using all the lanes.
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Been seeing this as well, been so busy haven’t been able to follow up with it with BM support, and Avid support as well. Dwaine knows about it, but their team claims it isn’t an issue and possibly something wrong on my end. This helps support that there is something wrong.
Have taken footage from prores 4×4 alexa, cineform, etc. Did a quick look, exported out dnxhd mxf in every flavor, media tool into avid, major gamma shift, blacks are lifted. just for comparison, i took the same clips out of resolve and outputted as pro res 4×4, and linked it via ama into the same avid session and toggled back and forth. Def. see a gamma shift.
I have a post up on avid forum too, gonna post screen shoots as soon as I get a chance.
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Sadly I had it only working for a few minutes before my system shut down by itself 🙁
It was too much power draw, main difference in setup is that i’m running a 10 tb raid. I added a 5th drive in the optical bay. and i have a hba instead of a regular esata card.
if anybody is running a setup like that, the power draw will be too much once you start maxing out the 470’s usage. everything was going smoothly until i started pushing the card with blurs and noise reduction. I heard the card spin up to max fan, and everything turned off.
Guess I’m gonna be looking into a cyclone!
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Thanks Peter, I figured out how to do a proper import of a asc cdl. and figured out how to export as well, however when i save as a CDL in the conform menu from the timeline, it saves as a EDL. I’ve successfully re imported it back and reapplied the LUT to my clips, however is there anyway to save this as an actual ASC CDL format rather than a EDL to take into other systems?
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Mike, you are def always a life savior. Completely forgot that Avid prioritizes tape number first before everything else. All the AMA files had nothing in the tape fields which was probably the reason it was glitching resolve out. I did a whole bunch of tests, and manually putting in a tape number always does the trick, whether I decide to stick with ama files or rewrap/transcode to mxf.
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Thanks so much. And the converter box ensures 10 bit across the board. Did a lot if research for the DC before I got it. Its the most common device used for it.
Looks like Im ready to start this. Thanks again.
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https://forums.creativecow.net/thread/277/4821
found some more info, I think i’ve got my brain 90% wrapped around this. just a few last questions if anybody has the answers
as far as I know now, I can color, and just do the output lut built into resolve for a DCP output, and it should look very close to what I see on my monitor.
1. do i leave my monitor set to 709, or switch it to p3?
2. do i graded in limited range, or unscaled?from what I get, the output LUT should take care of most of the work for DCP, and what I’ve created in resolve is ready for a HD finish without needing another pass at it once I take off the output LUT. If anybody could chime in on those last two things, I think I’ll be set.
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I’m feeding with a aja hdsdi to dvi converter, and than i’m using a dvi to hdmi cable. it’s the most recommended unit for this set up. I do own a hdlink, but was wondering if the dreamcolor P3 (emulation) mode is accurate enough to just use that? It’s a intensely indie film, meaning hiring someone to do the probe, calibration, and the build of the LUT would probably eat the whole color budget up in itself.
Is there a simpler way to do this like an output LUT I can use?
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if the cine file was downloaded of the cine mag as “packed” da vinci will have a problem interpreting the white balance and will look pink.