Bruno Mansi

As long as the transcoded files (I assume as MXF OP Atom) are at 50fps, you'll get the option to run them at 25fps (as I mentioned previously) or at 50fps (ie as Slomo). You simply change the Playback Rates setting in Source Settings. If you're running them as slomos, I assume you're not going to need to sync sound?

When you bring material into Avid which has a different frame rate to the project, it will automatically get a temporal adapter added to it, so that it plays at the correct speed for your project. In your case, this will be exactly a 2X speed change, You can see this if you bring up the motion effect parameter for these clips. You can inspect the temporal adapter settings for your 50fps clips in Source Settings. You should be able to sync your sound as normal.

There's a lot of colourists who are perfectly able (and prefer) to do these sorts of look adjustments themselves, especially when the price of this set is quite high. However, if it suits your workflow and earns you money, I've no particular problem with using them, and they can make a good starting point for further adjustment. Be aware that where you put your LUT in the node chain can have consequences on your ability to further refine the image.

Does seem strange since they do have examples for their other sets. Hope you got them in the half price sale that they're currently offering!

I've seen people do this with the Trapcode Particular plugin, But this is only available for After Effects. There are some tutorials which describe how to do it (in AE) without any plugins. I suggest you have a look at these and see if the same techniques can be used in Resolve's Fusion tab.

I think 3D LUT creator as an OFX plugin would work well at this sort of thing. I've had a play with this in the past and I could compress colour vectors together and manipulate them as a set.

I'm afraid you've learnt the hard way that you should never delete your original camera files. Storage is so cheap nowadays that you could have easily backed up your rushes to a portable/external hard drive before you freed up the space on your camera and laptop. Most professional outfits make multiple backup copies in case a particular backup should fail. You never know when these backups will be needed - possibly corrupted media or a re-edit some months (or even years) later. I'm not sure why you deleted all copies of your camera rushes if you still needed them - maybe you thought you wouldn't need them again after you'd finished editing and outputted your the final edit to a movie file. The recovery software that Emily mentioned relies on the fact that when files are 'permanently' deleted, all that's really deleted is the index to those files on the hard disk or camera card. It's possible to recover these files with the right software, but the problem is that by removing the index to your files means that the space used by these files is then available to be re-written by any other program. It's possible that some portions of the old files remain, but the longer you use the computer, the more likely the chance these files will be overwritten. If you haven't used your camera (cards?) since you deleted the rushes, there's much more chance that you can completely recover your files.

Seems like a good spec for a laptop so I'm sure it would be fine to run Avid. If you don't need all the features of the latest 2019 version, you could install an earlier stable version, which would probably run more smoothly. Most modern laptops seem to be able to handle 4K , especially if you're using a half resolution display mode, but will struggle once you start loading up the effects on the timeline. This is especially true once the CPU/GPU start running hot and the laptop can't dissipate the heat fast enough. Not sure with Premiere since I don't really use it, but GPU performance is much more important than it is with Avid. I know they removed earlier versions from the Adobe downloads because of a dispute with Dolby, so you'll need to try it out. Does your laptop really have 512 GB RAM?

I'm not sure I fully understand what you did. When you say 'original files' do you mean you created copies or proxies, and decided you didn't need the original media?

Always useful to mention what country you're in, as shipping to other continents can be expensive!

I advice anyone running Win 10 to install O&O Shutup 10, which will allow you to stop Microsoft forcing these updates on you, until you are ready to update.

My advice would be start with the online courses first, until you get a decent amount of time under your belt, then maybe consider attending a short course. The reason I say this is that attending courses can be fairly expensive, and you'll be better off doing the basic stuff with an online course. When the time is right, then by all means attend an intermediate/advanced course, where you can ask more informed questions and benefit from watching an experienced colourist at work. I would steer clear of YouTube tutorials, as there's some really bad stuff out there from people who claim to be professionals, but give poor advice. Mixing light, Ripple Training and FXPHD are examples of online video courses which do a good job of teaching the art and craft of colour grading.

No one's going to be able to answer this unless you give a lot more information about your process, including... What you're exporting from and to File formats and project settings What devices you're viewing on.

Hi Omar Not sure what this 'European' look you're referring to actually is. The two examples you link to are quite different from each other. You mention it's mostly from commercial and music videos, but as a European, I see a great variation in styles and grades - just as I would from material from the rest of the world. Last time I checked, Mexico City wasn't in Europe!

One of the things that people liked with Avid's Symphony option was relational colour grading. With BL version 5 we have a similar ability. You can grade a shot and have it automatically apply forward (or backwards) in the timeline to a group of shots based on source name, reel etc.