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@Mark LaCroix
by walter biscardi on Jun 3, 2012 at 2:20:50 pm
in the COW - Tutorials Forum
Yeah, we actually have gotten this before from someone else on the Facebook Moving to Adobe Premiere Pro page. The problem is you're talking 450 clips per episode that would have to go through AME and not really something we want to do with a manu
Re: A Cautionary Tale for the FCP Switcher
by walter biscardi on Jun 3, 2012 at 11:12:57 am
in the COW - Tutorials Forum
[Andrzej Tomczak] "I still use XDCAM TRANSFER to make QT XDCAM HD. Then I use PP CS6 to edit ( nice part), Then I create XML , open it with Resolve. Resolve work nice with xdcam HD QT files. " We avoid transcoding to Quicktime wherever possible be
Re: Article: A Cautionary Tale for the FCP Switcher
by walter biscardi on Jun 2, 2012 at 4:21:46 am
in the COW - Tutorials Forum
[Job ter Burg] "Then, rather than doing a video mixdown to DNxHD or ProRes in Avid, then exporting that as a same-as-source QT and then autodetect cuts in Resolve, you completely switched over to CS6 to do precisely that (flatten, export, autodetect
Re: Vegas Looking For Deleted Project Files
by Stephen Mann on Jun 1, 2012 at 11:16:20 am
in the Sony Vegas Forum
If you export an EDL (tools, scripting) then look at it with a text editor like Notepad, you can get an idea where the project is using the file.
Re: No problems opening here...
by Mark Kelly on Jun 1, 2012 at 2:52:53 am
in the Adobe Premiere Pro Forum
I got around the problem by exporting the project as an edl from 5.5 then setting a new project with the correct settings & importing the edl then relinking the media. Pain in the A-hole, but works (except for key-framed audio)
Re: Renders from After Effects will not import properly in Color
by Drew Lahat on Jun 1, 2012 at 2:04:22 am
in the Apple Color Forum
Hi Joseph, I have not and suppose it'd work. This was about testing a FCP-AE-Color workflow: (We do short form with quick turnarounds and many shots have VFX) 1. Edit in FCP 2. XML and AutoDuck into AE 3. VFX in AE 4. Render out to a ProRes(
Smoke To Davinci Workflow
by Ari Brown on May 31, 2012 at 5:50:09 pm
in the Autodesk Smoke Forum
I am a long time reader, first time poster - so please be gentle :) I have done a number of searches, but I haven't been able to find the answer to my workflow question yet. I am trying to figure out the best workflow for doing a conform with A
Re: Renders from After Effects will not import properly in Color
by Joseph Owens on May 31, 2012 at 3:33:52 pm
in the Apple Color Forum
[Drew Lahat] "5. Export an EDL 6. Import the EDL as cut list with the AE render." Have you tried exporting the razored sequence to FCP as a normal "Send To... COLOR" round trip? jPo
Re: Using Split and Add Function With A Flattened QT
by Sascha Haber on May 31, 2012 at 7:04:52 am
in the DaVinci Resolve Forum
No really, you either need to use the preconform function or even better, load you clip NOT into the media pool, but instead right click on it, say Load into scene detection, load your EDL here, split and check your edits. Then load that into your m
Service: Walaiporn Tohnual
by Cartoon Tonual on May 31, 2012 at 12:17:03 am
in the COW - Services Forum
5-year experience in Flame as an Assistant Digital Artist at Oriental Post in Thailand. Have skills in conforming from EDL or tape, pulling keys, rotoscoping, painting, archiving, and prepping material. 2006 King Mongkut’s University of Technology Th
Renders from After Effects will not import properly in Color
by Drew Lahat on May 30, 2012 at 11:20:06 pm
in the Apple Color Forum
1. Start a new project in After Effects 2. Create a 23.976 comp with a solid layer 3. Render out to Prores422(HQ) or Prores4444 23.976 fps. 4. In Color, in the setup room's browser pane, navigate to the clip. FCP, Quicktime, and VideoSpec all s
Walaiporn Tohnual
by Cartoon Tonual on May 30, 2012 at 5:17:03 pm
in the Forum
5-year experience in Flame as an Assistant Digital Artist at Oriental Post in Thailand. Have skills in conforming from EDL or tape, pulling keys, rotoscoping, painting, archiving, and prepping material.
Using Split and Add Function With A Flattened QT
by Chris Martin on May 30, 2012 at 5:11:42 pm
in the DaVinci Resolve Forum
So I have an edl and a preconformed QT. I want to use the "Split and Add" feature in Browse menu (so I can attach mattes to necessary shots). When I go to use Split and Add with said QT I navigate to edl as prompted but Resolve splits the QT up int
Re: Red Epic 5k crash
by Chris Martin on May 30, 2012 at 4:22:37 pm
in the DaVinci Resolve Forum
Yes I usually use an edl and bring in the R3D select takes into the media pool. I'll do this from a client drive then copy files to local drive. Then load xml as Juan describes and deselect import media option.
Re: @Shawn Larkin
by walter biscardi on May 30, 2012 at 12:00:15 pm
in the COW - Tutorials Forum
[Brendan Dillon] "I'd go for the flattened file (video mixdown in Avid) method too, with an EDL to split it up. As long as everything is on V1, the EDL will always slice the file frame accurately. I make a vision only CMX 3600 EDL and I've never had
Re: @Shawn Larkin
by Brendan Dillon on May 30, 2012 at 11:52:56 am
in the COW - Tutorials Forum
I'd go for the flattened file (video mixdown in Avid) method too, with an EDL to split it up. As long as everything is on V1, the EDL will always slice the file frame accurately. I make a vision only CMX 3600 EDL and I've never had a problem with cut
@Vincent Manierre
by Vincent Manierre on May 30, 2012 at 5:41:14 am
in the COW - Tutorials Forum
I used this method except I wasn't doing a one light in the davinci before hand. AMA-DNX 36. File 32 EDL or AAF into resolve after adding all clips to my media pool . Make sure the Reel extraction pattern was correct and the media was online.
Re: A Cautionary Tale for the FCP Switcher
by Vincent Manierre on May 30, 2012 at 5:27:30 am
in the COW - Tutorials Forum
Did you attempt an edl conform? I've conformed with edls showing source clips using file 32 setting. Also had success with aaf's. There was a checkbox in resolve I had to check but after that it reconformed a 90 minute feature to the frame.
@Shawn Larkin
by walter biscardi on May 30, 2012 at 3:35:47 am
in the COW - Tutorials Forum
It's more failsafe to have all the clips. Scene Detect is not perfect nor is an EDL off a single clip. We always have to make fixes and adjustments after the first render. When we send in a fully conformed timeline, there are no cuts or diss
Re: A Cautionary Tale for the FCP Switcher
by Shawn Larkin on May 30, 2012 at 2:34:33 am
in the COW - Tutorials Forum
What is the disadvantage of using a flattened file + EDL (or edit detection) instead of a consolidated group of clips? You are creating the same amount of media either way to work from -- just one version is a large file that the software cuts up
Re: Export *OFFLINE* EDL from *ONLINE* Edit
by Michael Gissing on May 30, 2012 at 12:01:38 am
in the Apple Final Cut Pro Forum
Media Manage and stay with the same frame size and frame rate. Do not use DV as it is a nightmare. ProRes LT or Proxy are your best choice. Don't need an EDL just open their project and relink to the original ProRes media. Do not change any file n
Re: Export *OFFLINE* EDL from *ONLINE* Edit
by jon smitherton on May 29, 2012 at 1:43:05 pm
in the Apple Final Cut Pro Forum
Hi, You can Media Manage the sequence with handles and see what size it is to send to them on a drive. 1 Hr Prores HQ HD video is 224 GB so with say 4 sec handles it maybe 100 GB or so more. I would try and keep in the same size and codec as you
Export *OFFLINE* EDL from *ONLINE* Edit
by Nikos Papadopoulos on May 29, 2012 at 10:55:11 am
in the Apple Final Cut Pro Forum
Hello all. I need your help with this: I have 3TB of Prores footage that I have been editing online in native resolution. After several months of editing I cut down the project to 2 hours and decided to collaborate with another editor. A) Can I
Re: How to tell if footage is 10-bit or 12-bit?
by Rafael Amador on May 29, 2012 at 2:56:23 am
in the Apple Final Cut Pro Forum
[eddie mor] "as far as I Know, Apple pro res 12 bit 4444 is not equal to 10 bit 444 ( without the alpha channel ) , with the alpha channel is 16 bit 4444" This is very wrong. Prores 444 SUPPORT 10/12 bits. That means that can be 10/12 bits PER CHAN
Re: Reverting a 11 project file back to 10?
by Tom Pauncz on May 28, 2012 at 7:31:17 pm
in the Sony Vegas Forum
Sadly, as you have a lot of FX, there is no easy way back to V10, if at all. For simple cuts and dissolves, you can export (Save As ... EDL Text file) the Vegas project and that will open in V10. Unfortunately any FXs etc. have to be reapplied.
Re: How to tell if footage is 10-bit or 12-bit?
by eddie mor on May 28, 2012 at 9:53:39 am
in the Apple Final Cut Pro Forum
Hello from Spain, as far as I Know, Apple pro res 12 bit 4444 is not equal to 10 bit 444 ( without the alpha channel ) , with the alpha channel is 16 bit 4444 So, the problem is that FCP cannot edit or export in 12 BIT, Only 10 or 8, so you loos
Re: After a year has perception of FCPX changed?
by Charlie Austin on May 27, 2012 at 5:34:16 pm
in the Apple FCPX or Not: The Debate Forum
[Chris Harlan] "Sounds like you found your thing, man. That's cool. Me, I like tracks. I like the organization. I also like multiple timelines. I hear ya, And really, the only reason I posted here was because my experience actually using X has bee
Re: Performing Multicam editing without nesting?
by Alex Olinger on May 24, 2012 at 5:34:21 pm
in the Adobe Premiere Pro Forum
I downloaded the trial of CS6 and went through the workflow steps in this video: http://www.video2brain.com/en/lessons/multicamera-improvements Creating a multicam source sequence and then using it in another sequence for editing does create a nes
Re: Best Workflow: MC to Resolve ???
by Jonathon Lee on May 24, 2012 at 3:50:38 pm
in the DaVinci Resolve Forum
Thanks Guys... this is the best forum... so much real knowledge here. I think I'll have to try the AAF route. It looks like something was botched with the tape names for the Alexa files during logging so I can't go from MFX to AMA-link in Media Co
Project List Folders
by Dave Williams on May 24, 2012 at 2:29:35 pm
in the DaVinci Resolve Forum
I have a huge ongoing project with many different file types. I am generating a new project for each file type as this is all the raw footage with no edl's. I am ending up with many projects that belong to the same job. What I am wondering is there a
Performing Multicam editing without nesting?
by Alex Olinger on May 24, 2012 at 1:39:56 pm
in the Adobe Premiere Pro Forum
Hello, I`m currently gearing up on pre for a music video project I want to cut in Premiere CS6. I was wondering if there was a workflow to cut footage with the multicam viewer, that does not requiring nesting of sequences. I`d told by our color
Re: Best Workflow: MC to Resolve ???
by Onno Varekamp on May 24, 2012 at 11:04:46 am
in the DaVinci Resolve Forum
Most of the time I relink to an edl in resolve, be sure to check Source File in comments in EdlManager. In Resolve you have to check "assist using reel numbers from the: Source clip file pathname" and insert */%R???? as Pattern. This will remove '.mo
Re: Subclips losing unique timecode
by Jerry Hofmann on May 23, 2012 at 4:52:23 pm
in the Apple Final Cut Pro Forum
Sure is weird.. I'd not worry about the problem if you're going to finish it all on the same station without having to actually use the EDL's. If you export to soundtrack pro for a finish is there a problem? likely not... Jerry
Re: Subclips losing unique timecode
by Tory Stewart on May 23, 2012 at 3:56:10 pm
in the Apple Final Cut Pro Forum
Further tinkering has revealed that the problem does not seem to have to do with wavs vs. aiffs after all! The audio tracks only lose their timecode when made into subclips if they were not recorded with time of day timecode. Example of what I mi
Set reel name on 5d footage with davinci resolve
by david buf on May 23, 2012 at 2:20:41 pm
in the DaVinci Resolve Forum
hi everyone, i have a question :) i must create some offline files with 5d and 7d footage in davinci resolve. But i have a this problem, the name of the clips that i imported in davinci sometimes are repeated because the original files come frome 3
Re: After a year has perception of FCPX changed?
by Walter Soyka on May 22, 2012 at 6:27:20 pm
in the Apple FCPX or Not: The Debate Forum
[David Powell] "I think people need to remember why FCP became so popular. It was cheaper than all the other alternatives for what it could do." I really don't think that's fair to FCP. It was a lot more than just cheap for what it could do. It mi
Is 'Adobe Speedgrade' working for you?
by Sohrab Sandhu on May 21, 2012 at 6:24:57 pm
in the Apple FCPX or Not: The Debate Forum
I edited a 3 minute sequence (Canon DSLR clips) in Ppro 6 and then tried sending to Speedgrade. Just simple cuts, nothing fancy, but after all the exporting and speegrade opening up, the program just crashes. I tried with a shorter duration it crashe
Importing Red One clips to edit over a preview with prores 422
by Francisco Bech Gómez on May 21, 2012 at 12:40:02 pm
in the Apple Final Cut Pro Forum
Hello Here is the situation I been shooting a project with a Red One at 4K. I dont have a Mac Pro, I have an Imac. A friend with a Mac pro transfer the 4K clips to prores 422 (HQ) so I can edit with FC and Imac and later export an EDL and get
News: Can Communicate goes wild with Quantel Pablo
by Cow News Droid on May 18, 2012 at 8:26:14 pm
in the NEWS: Product News Releases Forum
Top London Production Company chooses Quantel Pablo for Sky3D documentary, 'Safari Park Adventure' (Newbury, UK--May 18, 2012) It has been an incredibly busy couple of months for Can Communicate, one of Europe's leading 3D production companies. Fr
Re: Converting 30fps timeline to 24fps
by Dave LaRonde on May 18, 2012 at 5:45:50 pm
in the Apple Final Cut Pro Forum
[Emily Elaine Chiu] "So I just have to recut the whole thing?" Yup. [Emily Elaine Chiu] "no way to preserve the cuts from the 30fps timeline?" Nope. You can, however, export an EDL to give you an approximation of where the cuts take pla
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: Any IRIDAS Speedgrade users care to weigh in?
by Michael Gissing on May 18, 2012 at 9:31:09 am
in the Apple FCPX or Not: The Debate Forum
I thought the PPro send to SG worked. EDL is an alternate from the videos I have seen. Not got my hands on the software trial yet so can't say for sure. Also from what I hear dynamic linking with SG and Pr will be implemented soonish so it will be
Re: Converting 30fps timeline to 24fps
by Shane Ross on May 18, 2012 at 5:48:11 am
in the Apple Final Cut Pro Forum
[Emily Elaine Chiu] "I was just informed that we need to be working in 24fps and all the clips will be re-rendered at 24fps" SO you were casually informed that even though footage was shot at 30fps (29.97 I hope)...you need to edit at 23.98? This
Converting 30fps timeline to 24fps
by Emily Elaine Chiu on May 18, 2012 at 1:57:57 am
in the Apple Final Cut Pro Forum
I'm working in FCP7 editing 30fps clips on a 30fps timeline. I was just informed that we need to be working in 24fps and all the clips will be re-rendered at 24fps, also changing the frame size. Any ideas on how to make this move gracefully? Unti
Re: .SCC files - Final Cut
by Jason Livingston on May 17, 2012 at 5:13:48 pm
in the Closed Captioning Forum
Hi Damian, By far the easiest solution would be our Assemble Captions workflow: http://cpcweb.com/hdtv/assemble.htm Given the EDL in FCP7 XML format, MacCaption can automatically conform the captions to match the edit. Tedious manual editing of
Re: Any IRIDAS Speedgrade users care to weigh in?
by Mike Molenda on May 17, 2012 at 3:40:34 pm
in the Apple FCPX or Not: The Debate Forum
I think one of the great things Apple did with Color, and is missing from SG, is the ease of roundtripping. You hit "Send to Color" and an XML was generated for you, brought into Color, and connected to your original media. Start your grading rig
.SCC files - Final Cut
by Damian Campero on May 17, 2012 at 3:13:24 pm
in the Closed Captioning Forum
Hi! I have some questions about using .scc files on final cut. I will receive a media file that will include it's .scc file. I will also receive an EDL file of the "media file" with some modifications. What I need to do is load that EDL (which c
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: Anyone on here cut a feature in FCP X?
by Oliver Peters on May 17, 2012 at 11:25:52 am
in the Apple FCPX or Not: The Debate Forum
There are several reasons for using 7. For instance on the incoming side, let's say you have Alexa ProRes4444 LogC footage. I apply a LUT to the raw footage in 7 and Batch Export a proxy for editing with the correction baked in. Replace later. On the
Re: Dream on Premiere advocates
by Jeremy Garchow on May 16, 2012 at 11:42:19 pm
in the Apple FCPX or Not: The Debate Forum
[Alan Okey] "Can Smoke 2013 export OMF and/or AAF? " I don't know for sure, but I've heard OMF export. XML and AAF export didnt seem to currently be in there from what I heard from the NAB contingent. It accepts XML and AAF. I also think
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