Bruno Mansi

These sites all try to sell you the... "how hard can it be?" ...line! 🙄

Yea, I got that from the original post. What I was asking is, if all these coatings create colour shifts, how they deal with this on lens coatings. I also get somewhat distracted by actors who are obviously wearing a pair of glasses with plain glass as lenses!

Is this a problem for all glasses with anti-glare coatings? It's only that lenses have anti-glare coatings, and I would have expected them not to alter the spectral response - or do they have an extra element in the lens to correct for this?

Even with SSDs, you may well find you don't get the maximum speeds you expect from USB 3. There are a number of flavours of USB 3, for example 3.0, 3.1 and 3.1 Gen 2 - all these can effect your transfer rates depending on the drive technology and the compatibility of the interface. As an example I have a HP Zbook studio laptop, which has USB 3 and Thunderbolt 3. When I connect a Samsung SSD T5 (which has a type C connector) to the USB3 port, I'm getting around 450MB/sec read/write. When I connect the same drive to the thunderbolt 3 port I get around 550MB/sec, which is about the limit of the published drive's speed. As a comparison, the internal drive, (which is a M.2 NVMe SSD) is testing 1,600MB/sec write and 3,100MB/sec read. So NVMe is definitely the way to go. I do have a spare M.2 socket inside my laptop, so this is an upgrade I may consider in the future.

Hi Mazze Thanks for the explanation - concise and to-the-point as always! I suspect you're right about Windows update, which is why I've installed O&O Shutup10 which prevents any updating without my specific permission. Best Bruno

Hi all I'v just installed the Scratch 9 trial under windows 10 on a laptop with a Nvidia graphics chip. On starting Scratch it's saying it can't find any OpenCL drivers, and says I should reinstall the graphics drivers. If I click through this message it seems to work normally. I haven't done much at the moment - just brought in a couple of clips into the construct and played with some colour settings. Do I really need OpenCL drivers? I thought most software would work either with OpenGL/CUDA or OpenCL (in Mac based setups).

In lesson 2, Kevin mentioned in passing that you have to export an AAF from Avid with both audio and video if you're working above HD (ie 3840x2160). Can anyone expand on this, and why it's necessary even if you're just interested in the video?

Isn't this version just for stills? In the 'requirements' tab, it only shows Photoshop, Lightroom etc. No mention of OFX

Glad to see it worked for you. There's training tutorials available on the Filmlight web site. https://www.filmlight.ltd.uk/training/resources/bleditions/baselightforavid.php As far as customisation is concerned, one of the things the Eucon software gave you was the ability to customise the the function keys. Since you have to disable Eucon to run Baselight, that option is gone. There's nothing in the menus to allow you to customise the panel, so you're pretty much stuck with the default assignments. I'm attaching a document that shows what the various buttons are currently assigned to. I was told about a file in one of the Baselight folders (in C:\Program Files\Avid\AVX2_Plug-ins\Baselight\etc) which sets the panel assignments, but I've no idea how you'd hack into this file. Avid Artist with Baselight Editions 5.docx

There are a number of steps that need to be followed to get this to work. I'm assuming that you've got your Artist Color successfully connected to your network via Ethernet, that you've installed the Eucon software and that it sees your panel. If you've got this far, your Artist Color is probably getting it's IP address automatically by the router using DHCP. I would strongly recommend you change this behaviour to having a static address, as Baselight will need to be told this address in the setup, and you don't want this changing once you've set it up - which could happen under DHCP. The Avid documentation for the Artist Color has instructions on how to do this, but basically it involves getting into the relevant menu by holding down both PAGE keys whilst powering on. I've set mine to an IP range I reserved specifically for static addresses - in my case 192.168.0.150. Baselight communicates directly with the panel through Ethernet, so this conflicts with the Eucon software, which usually grabs the panel when you power it up.This is fine for use with MC or Resolve but not with Baselight Editions. You either need to shut down the Eucon software or remove the panel from the list of 'My Surfaces' within the Econ software. Once you've done all of the above, you can start Editions from within MC and going into the configuration settings to set up the panel. The menu should be fairly self-explanatory, but here is where you'll need to specify the IP address you set up earlier. Once you restart MC and Baselight, you should be good to go. Things that might help here... 1) Once you've successfully removed Eucon's control over the Artist Color, the panel indications should show a row of 'Avid' legends. 2) If you've done everything right, (and Baselight is communicating with your panel) the indicators will change to much smaller lettering which reflects the adjustable parameters in the current Baselight page. Good luck!

I've never used Recuva so I'm not able to advise, but it sounds similar to Spinrite. These programs can only do so much, and they basically work by trying to read damaged blocks of data by re-reading them multiple times, and getting the heads to approach that section of the disk from different directions. The hope is that if the data is still there but the heads are having trouble reading it, multiple attempts might just recover the data. If the data is irretrievably damaged or missing and can't be read, then nothing is really going to help. Deleting cache files on a disk should never cause a total failure of the disk, so I think this was just a coincidence. As far as your recovered mov file is concerned, I suspect Recuva didn't manage to recover 100% of the file, so it won't play. You could try one of the movie repair utilities that are available (eg Stellar) or try something like fix.video, where you upload the file and they fix it for you.

I don't think you can really blame Resolve for your hard disk failing! It's a fact of life that the only cast-iron guarantee a manufacturer can ever give about hard drives is that they will fail at some point. It's at times like this that most of the people who frequent these forums will turn to their backups, which are part of the daily essential tasks that we perform. If you don't have backups, then you may have learnt a hard lesson about their importance. Without backups, the only avenue left is to hope that the disk isn't the problem, but that it's a data or power cable problem. If your drive is partially working (so you can see some of your files) I would copy these off immediately to another drive. The files that won't recover might be salvageable using software like Spinrite, which uses specialised drive commands to try and read data on bad portions of the disk If the disk is completely unresponsive, then it looks as if your drive has completely died. There are specialist recovery companies that try to recover your data, but they're going to be expensive. I've also heard of people who will transplant the platters of your dead drive to an identical drive, on the assumption that the data is still intact, but the old drive has suffered some sort of component problem or bearing failure. Again, it's not likely to be a cheap option. If something catastrophic has happened, like the heads hitting the surface of your platters, then it's game over.

I assume when you say 'all editing rooms' you're referring to all the tabs, so your footage is offline in the media page. One thing you could try is to make a new bin (in the media tab) and re-import all your footage once more into this bin. If all your clips appear and play correctly, we can assume there's nothing wrong with your media or the drives they live in. Now have a look at your timeline and see if the new clips have corrected the problem.

I think the Resolve version doesn't have the Primatte keyer - a good keyer for greenscreen work.

This was always a problem in the days of linear tape onlines which went for external grades. The approach we used was to leave the dissolves as they were in the main programme, but include all the clips that were used in dissolves as separate elements at the end of the tape (with appropriate handles). The Colourist would grade the show as normal, including the dissolves (the best they could) but would also apply the same grades to the separate elements. Once we had returned to our online suite, we could review the graded dissolves. If it was decided that the grade transitions were visible, we always had the graded elements to rebuild the effect. This technique was also used where there were composites in the show. It's all so much easier now where you can simply send a multi-layed AAF to a Colourist where you want control over all layers.