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About dermot.shane

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  1. not Kevin, but i have been doing this a fair bit they editor opens a clean project, opens the XML and it automagicly links to the graded media and builds the timeline with graded media and effects that are embedded in the XML one more thought, render with source rez checked, and bypass sizeing so the image does not get scaled twice, any scaleing embedded in the XML will still be in the XML output from Resolve
  2. dermot.shane

    AAF into fusion?

    i seem to remember a million or so years ago importing AAF into fusion, and re-creating title media - this would be circia 2006, and i could be completly wrong... so my questions are; -do i remember correctly? - can it be done in Fusion9 or ReFusion?
  3. i think de-interlace is only active in a progressive project, but i only rarely see interlaced footage, and can't remember last time i saw a interlaced project, so i'm not of much use am i?
  4. dermot.shane

    Zotac Geforce Gtx 1080 Ti Amp Edition 11gb

    i've got two frontline machines, no issues doing supervised UHD sessions with a 2 x 2690's /1x 1080ti, no real diff between that and the machine with 2x2697v2's and 2x 1080Ti's in a session, they both respond pretty much the same from the surface, need to cache third party OFX in either, don't have to cache native OFX if they are GPU acelearated, never have seen a out of mem error @ UHD the diffrence comes into play when rendering out after the client leaves 😉
  5. in Resolve use "re-conform from media pool bin", and target only the cam orig bin?
  6. and another Q for the smart guy... is there something like "commit mutli cam edits" in FCX? and a way to flatten the timeline? i don't get alot of FCX, a few shorts a year mostly the commericals, movies & series are cut in MC, and the indie features and some commericals and shorts in Pp i kinda dread FCX conforms as they seem to fall of the rails far too often... like one i had recently with a timeline @24, and refrence Qt at 23.98 (or was it the other way around?) mutiple tracks overlapping each other in seemingly random order... was a nightmare best forgotten... or learned from - hence me asking you 😉
  7. one more note, pg84 of the Resolve 15.2.1 manual explains how to map Mac drives to a windoze drive letter, can make conforms go a bit faster, not a huge deal on a one-off, but for series it's pretty useful if the media arrives mapped to the client's server time after time... the Tuxera thing was just because ti was bundled with a external drive, as long as the drive was pluged in the software would licence it's self permenatly on any number of machines... so i've kept that disk around for years now (think it's a 320gig) we bought the software years ago anyway because of bond requirments to have a licence for all software used
  8. @Kevin great summary for those of us who get asked for FCX to anything workflow and have no idea about FCX... wanted to do a shout out for Paragon's "HFS+" - i've have it on mutiple windoze machines for years now, read and write HFS (and now APFS) trouble free on the mac side we have "Tuxera" to write to NTFS, again been useing for years now with out ever an issue to be found.
  9. dermot.shane

    Fusion Essential Training

    really likeing these, clear and great signal to noise ratio, well done! one idea for a tut is dealing with when the Resolve softcut falls on it's face.... clean plates / warp grids / morphs / comps.... the sosftcut does fall on it's face when faced with a challange, but then so does all the other automajik morhp transitions, it's not any worse than Avid's or Pp's.... any of them are fail if the shots are not near perfect from the get go
  10. dermot.shane

    Morph Cut in DaVinci Resolve

    it's in the transitions bin, don't expect wonders, (but that's true for Pp and Avid's morphcut as well) heavy lifting needs to go to Flame or Nuke, humm.. might be a good tutorial if Fusion's tools are up to the task
  11. dermot.shane

    Fusion Essential Training

    ThanX folks, really good information presented clearly. looking forward to the next one... i'm interested in a few things in the short term - sky replacement + 3D camera solves + fixing tracking errors / editing tracks - end rollers - sending roto/tracks/masks to Resolve's color page these are all things i roundtrip currently to other software
  12. dermot.shane

    Question about the Mini panel.

    nothing happens when you press them... so far may change someday, but for now - no joy
  13. dermot.shane

    De-noise RED Footage

    some thoughts; - really depends on the chip used, not all red camera's need the same processing, a Helium is not a RED1.... - i do not find any modern RED to be noisier than any other good camera, at the least, not objectionably noisy - i tend to avoid noise reduction unless really, really needed, and then i turn it up until i can see the scopes start to clear up, then cut the values in half - the exception being using Clairity in Nucoda - Paul Dore has a usefull OFX that displays noise per channel
  14. dermot.shane

    Please help me find the color!

    some questions 1- how does this scene fit into the story arc? 2- what is the main deliverable; theatre / web delivery / tv daytime / tv primetime / tvc ? 3- are there any weak links in the rest of the scene that shots have to match? 4 - how much time can production afford to throw at the show / how many days do you have to get the entire project complete? depending upon the answers... i'd approach each option diffrently
  15. dermot.shane

    Matching A7S and Alexa

    suppose it goes back to one's prefrences to work in display refered, or scene refered... i prefer scene refered, and find matching these camera's to be pretty straight forward with the correct IDT's, no luts needed (or wanted really) in my choice of workflow in Resolve my default node tree has a node set to HSL, with Ch1/3 bypassed, so i have control of saturation on the rings for tweaks in regions most of the heavy lifting gets done in L*a*b nodes tho