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	News: Cinedeck Software Upgrades Ship With More Native Codecs, Including Dnxhd 444, Plus New 3D Ster by Cow News Droid on Jun 1, 2012 at 7:44:12 pm in the NEWS: Product News Releases Forum Cinedeck’s software-based architecture enables greater capability and faster development (New York, New York--June 1, 2012) Cinedeck LLC, pioneering developer of capture systems for motion picture and broadcast production, continues to set new ben


	Re: Use of Shot Put Pro on Mac Book Pro -- how many processors to specify? by Wolf Austad on Jun 1, 2012 at 5:34:03 pm in the Panasonic HVX - HPX (P2) Forum If a Hard Drive is involved in the transfer, set it to 1. If you are using SSD runner drives and downloading from flash memory cards, set it to the number of CPU cores on your computer. At least that has worked for me, although with variable resu


	News: Light Iron Introduces New Distribution Channel For Mobile Post Production Systems by Cow News Droid on May 31, 2012 at 11:34:11 pm in the NEWS: Product News Releases Forum (Hollywood, California--May 31, 2012) Light Iron – a post production leader specializing in on-site dailies, digital intermediate, archival, and data services for projects originated on file-based motion cameras – announced today that its mobile post


	RED FCP CG and DI workflow for film by Chamath Paranawidana on May 30, 2012 at 6:01:28 pm in the RED Camera Forum Hi, I have 8 TB footage of a film which has been shot with the RED EPIC at 23.98 fps 4K HD. The film also includes a lot of CGI work. I need expert advise on the most suitable workflow to maintain hi quality and efficiency. Available resources


	Re: GTX 470 users…anyone else having render problems? by Sascha Haber on May 30, 2012 at 10:45:36 am in the DaVinci Resolve Forum Maybe Peter can tell us more about the internal structures where and when to scale and when to render. I guess the Rocket should do the scaling, but maybe its only truncating every second pixel and still outputting a 4,5K image. Can you , just fo


	Re: Why Smoke may never export FCP7 XML, and what to do about it. by Brian Mulligan on May 29, 2012 at 4:23:02 pm in the Autodesk Smoke 2013 Forum [Shawn Larkin] "1) I understand the renders are single frame ProRes QTs (if you choose that for your intermediary codec). However, you can edit off of your native media directly -- even H.264/AAC wrapped in QT? Or does this have to be transcoded goin


	Re: Why Smoke may never export FCP7 XML, and what to do about it. by Shawn Larkin on May 29, 2012 at 3:56:32 pm in the Autodesk Smoke 2013 Forum Thanks again Brian. Can you confirm for sure a few things for the 2013 release: 1) I understand the renders are single frame ProRes QTs (if you choose that for your intermediary codec). However, you can edit off of your native media directly --


	Re: Viewing VFX clips in proper colorspace (DPX>Rec709) by Joseph Owens on May 28, 2012 at 7:06:27 pm in the Apple Color Forum Its possible that your "darker/grainier" issue is a scaling problem if you sent RGB dpx files and they sent you ProRes4444, which can be either RGB or Y'CbCr, but no way to flag the difference. Whatever application you are viewing the ProRes files w


	Re: Why Smoke may never export FCP7 XML, and what to do about it. by Brian Mulligan on May 28, 2012 at 5:10:13 pm in the Autodesk Smoke 2013 Forum [Shawn Larkin] "If I can import any media file -- say H.264 up to DPX -- and it creates ProRes as in intermediary codec / container which I can work off of AND THEN I can export any format out and dump the ProRes intermediary files once the project i


	Re: Why Smoke may never export FCP7 XML, and what to do about it. by Shawn Larkin on May 28, 2012 at 4:47:12 pm in the Autodesk Smoke 2013 Forum Thanks for the reply Brian. I have read a few contradictory things about how Smoke 2013 handles media. I'll know know for sure in a week :) If I can import any media file -- say H.264 up to DPX -- and it creates ProRes as in intermediary codec /


	Watch Folders in Adobe Media Encoder CS6 by Jeremy Smith on May 28, 2012 at 4:26:04 pm in the Adobe Media Encoder Forum Hello everyone, This is my first post here and thought that you kind souls may be able to help me out. We are moving away from FCP to Adobe Premier CS6 for our editing needs. There are some very good features in CS6 that made us make the move.


	Re: Why Smoke may never export FCP7 XML, and what to do about it. by Brian Mulligan on May 28, 2012 at 2:45:16 pm in the Autodesk Smoke 2013 Forum In Smoke 2013 your framestore does not have to be DPX as it once was. You can import and create project media as Prores and render as the same prores. So you can work with lesser hardware requirements.


	Re: Why Smoke may never export FCP7 XML, and what to do about it. by Shawn Larkin on May 28, 2012 at 2:35:29 pm in the Autodesk Smoke 2013 Forum I don't think that Company 3 or any other house using Resolve was too happy when it dropped 100K in price a few years back either. Right now, you can get arguably the world's greatest color application for free and it has a way better tracker than S


	Re: Why Smoke may never export FCP7 XML, and what to do about it. by Shawn Larkin on May 26, 2012 at 10:45:04 pm in the Autodesk Smoke 2013 Forum I would prefer they do this: 1) Add in the extra functionality of Flame -- 3D Tracker, multiple secondaries, etc. 2) Add in a Lustre Module Then you won't need XML. Wouldn't you rather Autodesk do this in, say, the 2014 release than make


	Viewing VFX clips in proper colorspace (DPX>Rec709) by John Knowles on May 25, 2012 at 10:56:59 pm in the Apple Color Forum Hey all, I realize this may not be a strictly Color-related question but I'm hoping some of the gurus here can chime in and point the way (wish there was a generic 'Color-Correction' forum on the Cow, oh-well). I'm in post on my feature film (


	Re: Performing Multicam editing without nesting? by Ryan Patch on May 25, 2012 at 5:45:02 pm in the Adobe Premiere Pro Forum I actually was at the NYC Blackmagic event yesterday, where a guy named Colin was supposed to do a presentation about using Premiere with BMD Resolve. He didn't touch this issue in the presentation, but I heckled him about it afterwards, and he had


	Re: Why Smoke may never export FCP7 XML, and what to do about it. by David Jahns on May 24, 2012 at 4:35:37 am in the Autodesk Smoke 2013 Forum Interesting idea. I was just thinking about something similar regarding Smoke & XML... In the traditional offline/online workflow, you are generally just making the decisions for what pieces of media you want to use in finishing, right? So your


	Why Smoke may never export FCP7 XML, and what to do about it. by Juan Salvo on May 24, 2012 at 3:29:38 am in the Autodesk Smoke 2013 Forum One of my highest hopes for the new 'we've changed everything' Smoke was having XML export as an option along with the excellent XML import capability. Unfortunately it seems this will not be happening. Which got me to thinking about why that must be


	Re: EXR workflow by Peter Chamberlain on May 23, 2012 at 1:24:54 am in the DaVinci Resolve Forum Unlike DPX, EXR files are not designed for efficient disk I/O. There were designed for VFX images where disk speed of a few frames per second was considerably faster than the VFX render speeds. We continue to find ways around the file format limitati


	Re: Yellow LUTS by Dan Moran on May 22, 2012 at 8:35:14 am in the DaVinci Resolve Forum Hey Zack, Are you using the trim LUT file? This is in Libary/Application Support/Blackmagic Design/DaVinci Resolve and it is a DPX file. You must have your playhead on this file when you hit Generate Lut for the generation process to work co


	Issue sending sequence from Premiere Pro to SpeedGrade CS6 by Brian Horvath on May 22, 2012 at 1:20:12 am in the Adobe Premiere Pro Forum I have a 4Tb FW800 drive connected to a MacPro 1,1 (10.7.4) which is running Premiere Pro, Speedgrade CS6. I was cutting a multi-cam DV sequence which is roughly 90 min. I wanted to send this to SG to color correct and then output to final. When aske


	Re: Workflow Premiere to Speedgrade and back again by Brian Horvath on May 22, 2012 at 1:07:34 am in the Adobe Premiere Pro Forum As a new SpeedGrade user, I have a question related to what's been discussed here: I have a 4Tb FW800 drive connected to my MacPro 1,1 which is running Premiere Pro, Speedgrade CS6. I was cutting a multi-cam DV sequence which is roughly 90 min. I


	Re: Any IRIDAS Speedgrade users care to weigh in? by Mike Molenda on May 18, 2012 at 1:40:10 pm in the Apple FCPX or Not: The Debate Forum I should clarify. Send to SpeedGrade does work, and is pretty foolproof. However, the way it works is not ideal for every project. It renders your sequence out to DPX first, and sends that to SpeedGrade. So there's some waiting, and arguably a


	Re: Conforming a DPX files to a timeline by Jon Howard on May 18, 2012 at 2:04:19 am in the Adobe Premiere Pro Forum Heya, I'm trying to figure out a better workflow, but I have something that works pretty well and times out about the same as tape capture. First, you can import your Premiere sequence into After Effects. Once it's there, you'll need a scrip


	Re: Question about a double frame after converting 23.976 to 24 fps by Chris Jones on May 18, 2012 at 1:14:36 am in the Apple Final Cut Pro Forum Thanks for the explanation. That makes a lot of sense. I'm one more step towards understanding this stuff :) "Second, I'm scratching my head why you insisted on real-live 24fps and didn't simply leave it at 23.976." I'm glad you asked me this s


	Re: Workflow Premiere to Speedgrade and back again by Mike Molenda on May 17, 2012 at 1:36:13 pm in the Adobe Premiere Pro Forum You can send an EDL from Premiere to SpeedGrade, conform that to your original media, grade, render your new graded clips, then reconnect to them in Premiere. Then you can send from Premiere to Encore as normal. This way you don't have to render


	Re: Normal / Full Range by Peter Chamberlain on May 17, 2012 at 7:46:35 am in the DaVinci Resolve Forum One more thing... .Resolve has an Auto mode for source and render settings of video/data levels... unless you know or have been asked otherwise, its probably safe to use 'Auto' especially when dealing with many of the compressed codecs. My guideli


	@Adam Welsh by Barend Onneweer on May 16, 2012 at 12:44:40 pm in the COW - Tutorials Forum Hi Adam. I find your comment has some confusing and some incorrect statements. You are right when you say that the job of a colourist has evolved over the years with technology. You don't give any arguments for your statement that the true art of


	Re: Normal / Full Range by Teo Rižnar on May 16, 2012 at 9:22:55 am in the DaVinci Resolve Forum I am doing it also like this. viewing in legal range, grading full range DPX scans, exporting in full range XYZ Tiffs for DCP. It works pretty good! Just be careful not crushing the blacks to hard, what you see in legal range as little clipped in ful


	Re: Smoke 2013- a good professional color corrector or not? by Juan Salvo on May 16, 2012 at 2:14:52 am in the Autodesk Smoke 2013 Forum If its anything like it was in 2012 it'll be pretty tricky. The simplest way is with the "publish" function, which basically exports your media out to a dpx sequence and then links your timeline to it. So changes to that media get updated in your smo


	Re: Deliverables by Joseph Owens on May 15, 2012 at 10:44:31 pm in the DaVinci Resolve Forum [Brendan Maghran] "Do people usually finish with DPX sequences output from Resolve?" If they're "usually" finishing for an output that would require a 10 -(or greater)-bit sequential frame format. If you are delivering a web-stream QT or a DVD, t


	Re: Normal / Full Range by stig olsen on May 15, 2012 at 10:05:53 pm in the DaVinci Resolve Forum Ok, but I think you can work full rang anyway because that way you can scale the full range file to legal levels in any mastering tool outside of DaVinci. That preserves the black levels made in "full range mode" without clipping. Lets say you feed a


	Re: Normal / Full Range by stig olsen on May 15, 2012 at 8:56:19 pm in the DaVinci Resolve Forum The only thing I can understand is that I should work full range and render render full range. DPX or something that dont scale. Please give me one good reason why I should monitor normal. I know people here say they do, but I cant understand why. It


	Normal / Full Range by stig olsen on May 15, 2012 at 12:36:08 pm in the DaVinci Resolve Forum Hi, Some more talk about this... I have always worked normal range, exporting mxf to Avid, and mastered in Smoke/Flame for TV. When I took my (TV-commercial) normal range file to another post production house today I noticed that all of the


	Re: Any IRIDAS Speedgrade users care to weigh in? by Oliver Peters on May 15, 2012 at 11:53:36 am in the Apple FCPX or Not: The Debate Forum When you use the Send To SG command, Premiere renders a set of intermmediate, uncompressed DPX files first. The reason it does this is because both Premiere and SG accept various native codecs, but not the same ones. DPX mainatins the quality. That's


	Re: Any IRIDAS Speedgrade users care to weigh in? by Greg Andonian on May 15, 2012 at 5:33:49 am in the Apple FCPX or Not: The Debate Forum I'm glad to see Adobe adding color grading to their suite of tools, but Speedgrade won't be very appealing to me until they get it connected to Premiere through Dynamic Link. Apparently right now the only way to get there is via EDL, or by expportin


	Deliverables by Brendan Maghran on May 15, 2012 at 5:12:56 am in the DaVinci Resolve Forum Hi All, First time post on this forum- normally living in the avid world. I am directing a short this July- shooting on RED EPIC. Will offline at DNx 36 and then send to resolve via AAF to grade the Raw color data. We are delivering to festivals,


	16 bit dpx files by David O'Gara on May 14, 2012 at 9:19:39 pm in the Adobe After Effects Forum Hello, Does After Effects CS6 support a dpx file encoded at 16 bit? If not, is there a plug-in available? Thanks in advance


	Workflow Premiere to Speedgrade and back again by Jeff Brink on May 13, 2012 at 5:45:05 pm in the Adobe Premiere Pro Forum Hello, Does anyone know of a good workflow that incorporates Speedgrade that you can then export back into Premiere and burn to a DVD via Encore? I found this: http://www.reduser.net/forum/showthread.php?77013-Speedgrade-Raw-amp-DPX-Workflow-CS


	Re: Can 1080p be up-scaled to 2k? by Juan Salvo on May 10, 2012 at 6:51:03 pm in the DSLR Video Forum Don't scale and leave black on left and right side. I've done this many times for hd going to dpx or film print. This is by far the best way to handle it.


	Re: Can 1080p be up-scaled to 2k? by Andrzej Magnuszewski on May 10, 2012 at 3:10:39 pm in the DSLR Video Forum Hi Everyone, Can someone help with the following. I am preparing DSLR footage for technicolor Digital Cinama Delivery. It was shot at 1920x1080p and material is supposed be at 1998x1080 which is better: 1. To scale up and crop top and bottom (21px


	Re: The Mac Pro we dream about? by Michael Aranyshev on May 10, 2012 at 11:27:42 am in the Apple FCPX or Not: The Debate Forum [Walter Soyka] "Do you need OS X, or do you need application support?" I need things like QuickLook plugin for DPX and ARRIRAW files and the ability to search for timecode in them in Spotlight


	Re: Importing Stills by Rohit Gupta on May 10, 2012 at 5:52:45 am in the DaVinci Basics & Configuration Forum The stills need to be one of the supported formats, DPX, TIFF, EXR, CinemaDNG etc. One of the things to take note is the filename should contain a number, as Resolve is designed to handle image sequences, and you can't have a sequence without a nu


	Re: Stupid questions regarding CUDA, OpenCL and Premiere 6 by Tero Ahlfors on May 9, 2012 at 4:53:58 pm in the Apple FCPX or Not: The Debate Forum I also tried to bring a 1 hour 20 minute online of a movie (HD prores, HD DPX sequences) that I did with CS 5.5 in. The computer hung up when I just imported the sequence from the project file. Opening the project itself seemed to work better and it


	Re: DPX renders outputting wrong timecode by Ermi Apostoli on May 9, 2012 at 7:38:08 am in the DaVinci Resolve Forum In the Config menu under Timeline conform options, ensure that the 'assist using reelnumber from the:'is ticked and that 'embedded in source file' is selected


	Re: DPX renders outputting wrong timecode by Robin Moran on May 9, 2012 at 6:57:24 am in the DaVinci Resolve Forum Unfortunately the colorist at that post facility was the one who set it. I briefed them before we started. Hopefully it's at the correct rate.


	Re: DPX renders outputting wrong timecode by Rohit Gupta on May 9, 2012 at 5:26:00 am in the DaVinci Resolve Forum Is your conform rate set correctly in the config page?


	Conforming a DPX files to a timeline by Robin Moran on May 9, 2012 at 5:10:12 am in the Adobe Premiere Pro Forum Has anyone figured out how to do this in Premiere? I graded my materials in Resolve (this was prior to CS6 release) and now I wanna get the DPX renders into the timeline. Each clip is in a DPX folder. I've imported the files as image sequences. T


	DPX renders outputting wrong timecode by Robin Moran on May 9, 2012 at 5:02:16 am in the DaVinci Resolve Forum Hi, is anybody else experiencing this problem? I've finished a grade recently and was about to conform it for online when I realized the timecode in the dpx is way off from the clips on the EDL.


	Best workflow for multiple editors on multiple platforms from edit to delivery. by caleb burdeau on May 8, 2012 at 11:41:38 pm in the Apple Final Cut Pro Forum Hello everyone. I have been a long time reader here on creative cow, but this is my first post. I have been stuck with the job of overseeing the post-production for a low budget feature shot on the 5D mark2, and I am not sure what the best way o


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