Thomas Wong
Forum Replies Created
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are you updated to the latest 8.0 on the full version? shipping versions are still 7.0 for the most part I believe.
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also remember to burn in with grey if you are just gonna leave a static image, or just running video. i think one of the cheaper solutions is to load up a lut into a hdlink pro and have that go to the plasma, but you’ll still need someone to come in with a probe to match the monitors and create that lut for you. there’s no fast way of doing it, you won’t get consistent results as your grading with a un burned in monitor. the brightness decay will start happening during your sessions.
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haven’t been in your situation, but I believe RCX can do r3d trimming now. you might abe able to just spit out 50% as one r3d set, and the second half as another r3d set. so you’d only be splitting the shot in half rather than multiple parts. might be the most elegant solution.
Might even be better to truncate it into 30 minute pieces instead too, Resolve might freak out if it’s too long form. My timeline started going insane when I imported a 2 hour film into one session. it was fine once i broke it up into 20-30 min pieces.
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just clarify, if i run a cubix on a real mac not a hackintosh, flashed 470’s work perfectly? that’s so awesome. I’m totally doing that…
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you’ll have 1 out of the 3 in the near future at least guaranteed. Avid announced with their newest version, full third party I/O card support. no more expensive MOJO’s just to get some HD reference.
444 dnxhd codec too.
i just emailed and lobbied to BM to have audio render capabilities out of Resolve along with a more robust avid MXF export. Yes it’s a finishing tool, but with the price drop and it’s amazing capabilities, it’s accidentally the ultimate color management tool from set to post. I suggest anybody that see’s it the way I do email them like crazy to do this! I think it’s a win win situation for everybody. would def sell more decklinks, ultrastudios, and full license versions too if lite isn’t enough for you.
Resolve is the shizzle.
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not just about free, I mean I own a full license of resolve, I could bring on set too, i’d just rather not in fear of losing my dongle. either way, Resolve is very robust in format support, and keeping metadata intact with export. it’s really so close to being the swiss army knife of bridging that last bit of production to post. but certain things lacking prevents that. I understand it’s a finishing tool, just trying to find the best ways to fill this big hole i production now. It was easy luting pro res editorial from Alexa to FCP, the gap to Avid now needs to be filled more than ever with the epic fail known as FCP X. and the best price in town is always free 🙂
hopefully avid or BM is listening, and something will come of it. I have a lot of high hopes for Avid at the end of this year. and can’t wait to see what BM has in store for further resolve updates.
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hmm… that much round about encoding is kind of counter productive. wish there was just an easy way to place the cube lut or CDL i create in some software and bake right into avid mxf and have it work just fine. I’m looking into Alexicc which looks promising, but it’s not as fast as actually transcoding within avid, or using resolve. and the cube to icc profile converter is expensive.
hopefully avid will have lut support with their new release at the end of this year.
also tangent question, is there a way of transcoding files with lut, and maintaining the audio track out of resolve? from what I understand resolve will always strip the audio yes? I know there is a conversion method from within media browser which I wanna try out, but any heads up on whether I can apply a lut to that and if it will strip audio?
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This thread is really unclear. Is the thread starter talking about xdcam encoded files the f3 makes or is he talking about the upcoming solid state SR recording. Because sony has stated that it will be using mxf as their wrapper for recording, but using the same compression scheme as HDCAM SR. It’s till mpeg, but son is also claiming their SDK is out in the wild now, and all major companies in the game have access to the codec to make revisions to their software.
So when solid state SR recording comes, onlining to the native mxf SR files should be in blackmagic’s sights since they were listed as a company as having access to the codec already. if not, it will have to be wrapped as something else just like other workflows. I’d probably go with dpx, open exr, or tiff at that point for the online process. or for quicker workflows, there’s always quicktime.
and to add onto what Nate mentioned with xdcam, if it’s quicktime wrapped, Resolve takes in the xdcam codec natively and swimmingly. I’ve done it on several occasions with no issues. no need to pro res transcode unless you have other reasons for doing so.
Avid based workflows, DNxHD is pretty much where you’ll be at…
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it’s working like a charm now, i previously tried creating a new master session, but neglected to see the “timecode is calculated at” drop down. did a color trace, like butter now. Love this forum.
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Ended up the reason was because I overloaded da vinci with my feature film. had multiple sessions at full length, all with r3d, and the rocket couldn’t handle it. gained more stability when I yanked the rocket card, but it would still crash pretty frequently. Black Magic recommends breaking up a feature film into 20 minute projects for best stability.