| | | | Behind the Lens: Game of Thrones with Anette Haellmigk
by Anette Haellmigk on Mar 26, 2013 at 2:35:03 pm
in the Cinematography Forum
Cinematographer Anette Haellmigk shot two episodes of Season 3's Game of Thrones, the HBO blockbuster that returns on March 31. A native of Germany, Haellmigk was the 2012 winner of Kodak's Vision Award from Women in Film Crystal + Lucy Awards. A pio | | | | |
| | | | Re: Jittery video in AVID Media Composer 6.0.1
by Michael Phillips on Mar 26, 2013 at 12:12:04 pm
in the AVID Forum
James is pointing to one of the fundamental issues is AMA. While Avid marketing will list all the advantages of AMA, it is light on the more day to day realities of using AMA in all situations. You are also somewhat constrained by codec data rate and | | | | |
| | | | Service: Matteo Saradini
by Matteo Saradini on Mar 25, 2013 at 9:14:00 pm
in the COW - Services Forum
Client, Company, Project Breakdowns (Featuring large scale freelance, contracts and full-time only)
Image Pacific Communications/Image Media Farm Dec. 2007 - 2013 Digitizing audio and video contents for the web and TV production, EPK editing and D | | | | |
| | | | Re: Dual CPU?
by Michael Phillips on Mar 25, 2013 at 5:34:52 pm
in the AVID Forum
Depends on the processing being done and whether GPU can do it, or the process was written for GPU. I know in the transcode dailies world, both are still important. Color correction is done via GPU, but the actual transcode process from codec to code | | | | |
| | | | Matteo Saradini
by Matteo Saradini on Mar 25, 2013 at 2:14:00 pm
in the Forum
Client, Company, Project Breakdowns (Featuring large scale freelance, contracts and full-time only) Image Pacific Communications/Image Media Farm Dec. 2007 - 2013 Digitizing audio and video contents for the web and TV production, EPK editing and DVD | | | | |
| | | | Re: AVID 6.0 V's FCP 7 V's PR CS6 with canon 5d workflow...
by Michael Phillips on Mar 25, 2013 at 12:25:51 pm
in the AVID Forum
So it seems that the conform will done in Avid? The process would be no different with FCP or Avid if you go with an offline proxy or look to avoid the conform process and edit at your final mastering resolution. You did not mentioned whether the cam | | | | |
| | | | Shooting with two Arri Alexa with Gemini 4:4:4 DIT CART on SET
by David Giraldo on Mar 22, 2013 at 9:53:24 pm
in the ARRI Forum
Two Arri Alexa cameras recording both with gemini 4:4:4 my workflow is get the footage transcode it. Get dailies, color corrected for editorial and DP. that the easy part, my question are Im new for LTO Back UP, Im not afraid but curios about what wo | | | | |
| | | | Re: Davinci to Avid... Another Solution Found :-)
by John-Michael Trojan on Mar 22, 2013 at 8:01:59 pm
in the DaVinci Resolve Forum
I'm in a similar situation but different enough that I don't think this solution will work for us.
Creating dailies from multiple cameras in resolve. Any cameras that do not have reel names or proper timecode in their files are getting mezzanine | | | | |
| | | | Re: Sony F5 XAVC footage in Premiere CS6
by Jay Davis on Mar 20, 2013 at 9:33:52 pm
in the Adobe Premiere Pro Forum
I am using Resolve to quickly convert the files from XAVC to ProRes or DNx. Then moving to editorial. I find the trans-code necessary because not all editorial departments are using "up to date" version's of their NLE. So using these flavors I know t | | | | |
| | | | Dailies, disable select audio tracks
by Chris Ramey on Mar 20, 2013 at 6:45:48 pm
in the DaVinci Basics & Configuration Forum
I'm taking ProRes source media from our editor for encode to H.264s with burn-in TC. About half of the media has multiple audio tracks, 1:camera left, 2:camera right, 3:lav, 4:boom (sometimes there's a track 5&6 too). For the H.264s I only want to ou | | | | |
| | | | Resolve rendering out black frames inside mxf
by steve voyk on Mar 15, 2013 at 3:38:13 pm
in the DaVinci Resolve Forum
Hi guys,
Resolve 9.1.1 on MacPro 2012 Hex core/Quadro4000, Cubix with 2 x GTX690.
We're processing dailies from Alexa RAW (.ARI) files to MXF DnXHD36 files.
We're finding that intermittently, single black frames are going through the system a | | | | |
| | | | Resolve rendering out black frames inside mxf
by steve voyk on Mar 15, 2013 at 3:38:13 pm
in the DaVinci Resolve Forum
Hi guys,
Resolve 9.1.1 on MacPro 2012 Hex core/Quadro4000, Cubix with 2 x GTX690.
We're processing dailies from Alexa RAW (.ARI) files to MXF DnXHD36 files.
We're finding that intermittently, single black frames are going through the system a | | | | |
| | | | Buy Assimilate Scratch
by Ajit Nair on Mar 5, 2013 at 3:19:23 pm
in the Assimilate Scratch Forum
ASSIMILATE SCRATCH is an end-to-end data workflow - from dailies, to conform, color-grading, compositing, and through to finishing - and SCRATCH Lab, a robust dailies or VFX review digital pipeline, deliver the industry’s most comprehensive toolset f | | | | |
| | | | Re: METAFUZE: Long file-names are shortened, BIG ISSUE!
by Michael Phillips on Mar 3, 2013 at 9:10:34 pm
in the AVID Forum
Well I can go on a whole other diatribe about non-tech folks being responsible for "dailies"... but using Resolve is not that more complex that Resolve once you got settings for your output set up. And you get the benefit of the entire file name whic | | | | |
| | | | Re: Workflow: ALEXA PRORES -> AVID OFFLINE -> FCP ONLINE ???
by Michael Phillips on Mar 1, 2013 at 6:58:04 pm
in the AVID Forum
I haven't tried it, so my answers may be wrong but... I don't believe you can apply LUTS, nor does it export any additional metadata such as scene, take, and additional user entries. It appears to me that it is only a essence (video file) to DNxHD en | | | | |
| | | | Re: Workflow: ALEXA PRORES -> AVID OFFLINE -> FCP ONLINE ???
by Michael Phillips on Mar 1, 2013 at 6:12:59 pm
in the AVID Forum
If you want to conform back in Media Composer to the original ProRes files via AMA which will work fine, AMA uses the filename as seen at the directly level. That is why you want to use that in Resolve during the transcode portion. Alexa ProRes also | | | | |
| | | | Re: Workflow: ALEXA PRORES -> AVID OFFLINE -> FCP ONLINE ???
by Michael Phillips on Feb 27, 2013 at 3:43:34 pm
in the AVID Forum
I would look to Resolve as your dailies prep station while on the road. It can apply a LUT to 709 should the sources require one, and create native MXF/DNxHD of any flavor. It can also sync double system sound, but I still prefer syncing directly in | | | | |
| | | | Re: Gemini 4:4:4 Workflow?
by Michael Phillips on Feb 27, 2013 at 1:52:22 am
in the AVID Forum
Good article, but I would put an entry in there about setting REEL ID in Resolve before transcoding dailies.
Michael | | | | |
| | | | Re: EDL Output - Filenames linking to MSMMMOB.45
by Michael Phillips on Feb 26, 2013 at 1:37:52 am
in the AVID Forum
The issue to start with is usually because the dailies were made without a REEL ID being assigned before making the MXF wrapped DNxHD dailies. I have seen several videos online on making dailies skipping this crucial step.
As an FYI, EDL Manager | | | | |
| | | | Re: Extending Varicam
by john sharaf on Feb 24, 2013 at 3:31:34 pm
in the Panasonic VariCam Forum
Hi Kevin,
I know what you mean, I still have two Varicam 27F's (but rarely use them).
The best choice amongst the many third-party digital recorders is the Sound Devices PIX 240. The main reasons being it's fine build, ease of use and ProRes | | | | |
|
|
