Axel

Stable? It didn't crash so far. But occasionally I have to quit because a warning appears Your GPU memory is full - which is ridiculous, since I have the officially supported GTX680 with 2GB, and it never caused problems in 11, could easily make 5-6 nodes (enough), for HD though. Again, as said above, only UHD (16x9). And though you can export a DCP with the (built in) easyDCP plugin, it's a demo only that will render a watermark. The license is a thousand somewhat dollars. This is the same with the full Resolve version! If you want a free DCP Tool, try openDCP. And don't export 4k for cinema. Christopher Nolan does, but hardly anybody else.

The 16x9 version of 4k is UHD anyway, full 4k has different aspect ratios -17x9, 1:2,35 (or 21x9). Same with HD. 1920 is just the 16x9-2k.

@Zak Forsman Your whole site is very inspiring (some links don't work). I congratulate you for actually being in 'the business' and still choosing what you like. I envy you for that. Best wishes.

I went to film school, decades ago, but having been too young then, having had too many distractions and too little ambition, I dropped out. I kept film as a hobby, making wedding videos, test videos, nothing worth mentioning. Edited some music videos for local bands. Last week I gave my whole equipment to a friend, who is a better camera operator anyway. I am currently selling camera, lenses and other stuff on Ebay. The things you own end up owning you. But I don't give up trying. I cut my expectations and my many projects down to manageable size. Let my friend worry about gear. Instead, I concentrate on scheduling the shoots. He is busy, so I have to prepare every project in such a way that 'principal photography' can be done on one weekend. What kind of films? Short films, mostly one scene, one unheard-of event with two or three key moments. Emotions, action, humor and some sex. Hopefully enjoyable, entertaining, touching, intense and extraordinary. Before there was the much-ignored subforum CREATIVITY AND IDEAS, someone founded CreativeCrit, another forum, where I posted three of my plans to let others comment. I still think this is a good idea, but the forum died for lack of interest. No one listens (good title) to your ideas. We must accept that.

There is no entry for such metadata in the current version, but who knows? Anyway, though it's the Ursa Mini, it isn't prone to shaky camerawork due to it's considerable weight. What is more, gimbals are getting better. My friend just bought the Sony Zeiss 16-35mm for his A7s. It has optical stabilisation built in. This works for video, and there is little to complain about it. The gyro data could be used to have tracking data for compositings, you know, to let the background move with your camera.

Allright, I found out how to do it. Try this with Premiere, and describe the exact steps: This is all about the very first step. Finding the appropriate footage you need for your project. Preview it with as little clicks as possible, import it. Say, I want to preview and import twenty clips, and of those some multiple selections (i.e. from a long speech). Here is my newly found workflow: 1. In the media storage window (set to list view as opposed to the anyway crippled thumbnail view), select the upper clip. This loads it in the viewer. clicks so far: one 2. Play back clip with spacebar or JKL 3. Set in- and out points. 4. Click right between in- and outpoint (that was my mistake earlier): make subclip. The selection is imported into the media pool. clicks so far: two. If the make subclip command was a shortcut, it would remain one click! Please anyone tell me there already is one. Or, BM, create one, an easy one please! 5. Clear selection with alt + x, make new selection, then repeat step 4. 6. Use down arrow key to jump to the next clip. This is automatically loaded to the viewer. And so forth. As I wrote, this is the first step. I am just about to figure out how best to organize the clips, but I'm confident that it's not too much different from FCP X.

Yeah, it works. But only within the tiny thumbnails. Mr Petty, why is there no playback at least in the viewer to actually see something?

As far as I can see, the editing tools don't reinvent the wheel. However, there seem to be huge improvements in media organisation compared to other NLEs, though not very obvious to find if you start playing with it the old way. Just one unsuspicious example: You click once on a clip in the Media Storage Browser (which represents the path to where your unimported footage lives). This loads the clip into the viewer. You set in- and out points, then you right-click into the jog bar and create a subclip, and this portion is imported. Go on by intelligently tagging the clips, utilizing the existing metadata and what you need to add to make them searchable in smart bins. As I said, these things don't look like something to write home about, but they will make a huge difference at the end of the day, when others still sit despairing over hundreds of clips, batch-imported into dumb folders and portion-wise thrown into the timeline to test them (which I saw as a habit with more than one Premiere users) ... EDIT: Well, in theory ... This description (on page 182 in the manual): ... doesn't work on my machine, because "right-click" does nothing! Is that because it's a beta? Another thing about the viewer's jog bar: why is there no option to play back from in to out? And read this: Now, wouldn't this be just too good to be true? Hover-scrubbing (a.k.a. skimming) over a not-yet-imported clip? Doesn't work for me. Any other experiences?

Yeah, of course you can't focus during the shot. But I think he's right in one respect: if the external monitor is not stabilized (Ronin), it will distract you or cause nausea at some point. Can't use a Nebula type (too heavy setup), and the other gimbal you linked to didn't look good, imo.

Watch this: It convinces me. But it's $3000 and €4000 (for what reason ever). Hopefully somebody in China is already busy copying the thing. What think?

​You are right. ​ BTW: I made a mistake in the short workflow description. It's : deliver (tab, with FCPXML setting and handles), render, save, then goto edit tab and export XML. This is to save BrorSvensson some headaches.

​The NR of Resolve isn't as good as Neat. There is also a Neat version as a Resolve plugin, but rather expensive ($250). If you have Neat already in FCP X, you can send the graded project back to FCP X and denoise there. This is advisable anyway. Workflow: Edit in FCP X (with retiming, but without effects and titles), send FCPXML to Resolve, grade, save, deliver (=render) with handles for possible changes or transitions, send XML back to FCP X, apply effects, render a master file. If you don't have Neat, you can buy Photon Pro, which is a Motion-based plugin, which means it has no own GUI, allows for more realtime within FCP X (though render times are equally long), and it's only $30 in the App store. Rainy week? I'm curious how long it takes for you to figure out how to get more out of Resolve than of FCP X. Good luck!

​I think so. Resolve, and especially Resolve 12, expected to be released every day now, is the perfect extension for FCP X. If, as you put it, your options are really limited there. FCP X is lightyears ahead from other NLEs in terms of media management, and it's clip-based timeline paradigm is only comparable to the invention of the wheel. But here is the catch: it's an editor and little else. You'll never find a ceiling for CC in Resolve. On the other hand, many never find the door knob. Although I had been using Apples Color for years (and found it easier than CC within FCP7), it took me weeks to get anywhere near in Resolve, even after reading the whole manual and seeing the whole Ripple training by Van Hurkman. Too many options tend to confuse me. That's the same with After Effects. I spent many long nights trying to replicate some of the easier Andrew Kramer tuts, including matchmoving shots by advanced motion tracking. I was highly motivated, but I didn't succeed in the end. With a little lower expectations for Motion, it turned out to be very easy and intuitive, in comparison. Clear, comprehensible GUI. Because I sometimes shoot raw, I need Resolve. But if I don't shoot raw, I often just grade within FCP X. There is Coremelts SliceX and TrackX (free demo available) Those can be combined with Color Finale, and suddenly you have everything within FCP X, roto-tools, Mocha tracker and elegant CC. Tried them all, but bought none, because if I very rarely need to do something more advanced, I switch to the free Resolve. Which, as many will confirm, has the best XML exchanges with FCP X. Again, compared to other NLEs.

D, C, B, off the cuff.

​Apart from the question when machines develop conscience, if ever, guys like Philip Dick (Blade Runner) or Kubrick (HAL9000 or A.I.) ask if our own intelligence is natural. The nature of man, a contradiction in itself. Does reason really form our decisions? Modern science says no. It's little more but a rationalization of subconscious processes. We are not aware of the forces that make us act the way we do. What is an idea, what are interests, how is a resolve being 'computed'? Sentient beings who uphold the delusion that they are intelligent. Or, as Cohle puts it in True Detective, we live in a dream of being a person.

​Probably not relevant for any of us. Cinema releases will remain 2k for a long time from now. It seems you don't need the full version of Resolve to license easyDCP (which I once tried in demo mode in my old cinema, there was a Fraunhofer-watermark in the image then), but it isn't cheap. You see this option (not greyed out) in >Resolve Lite >File. EDIT: I only now saw, that the demo version (with watermark) is integrated in my Resolve Lite 11 already. See my delivery-screenshot: Yes, you could instead deliver a 4k Tiff-sequence and encode with the free OpenDCP. Everybody should try at least once to see his stuff on a big screen. Then he will understand that resolution is bizarrely overestimated and has nothing at all to do with 'quality'. Frankly, people who think about additional expenses of 350€ for a dongle will never be able to pull off a cinema feature that demands 4k. Cinema ads are HD. VoD, if it's 4k, will then probably be UHD, because 16:9 is here to stay.

I forgot to confess that I like Kung Fury. Yes, the trailer contains everything in a nutshell. The same could be said of Bond trailers. Really not necessary to roll out this bundle of cliches again to two hour length. It weren't the worst thirty minutes of the day, most of the time I am bored by three minute long clips.

​Coppola also said (I think in the same feature) nothing is so terrible as a pretentious movie. What is a pretentious movie? For us ambitious filmmakers? All people are losers in one way or other. That's a fact. No one measures up to everybody's expectations. Some just manage better to pretend they do. The wiser I become, the more I learn to distinguish between right and wrong goals. If I try to impress others, if I try to prove something, I'm on the wrong path already. Interesting films, good films, can deal with serious subjects or just be big fun. Bad films are a waste of life-time, for the makers a well as for the audience. Nobody really cares if they were executed with expert skills or if they had slider-shots or the like. But once I really love a story (narrative) or I'm really intrigued by something I encounter in reality (doc), I will try to depict it in the best way possible. Never the other way around. Life is too short to pretend. People are worth to be met with (even blunt) honesty, passion and bravery.

​I did not look into this too deeply. Just out of curiosity, I tried (with FS7 XAVC footage, transcoded to ProRes and BMPC 4k Raw) with Resolve 11 Lite: The timeline settings allow "4k UHD", which is then fixed to 3840 x 2160, not changeable in Custom. The footage (4096 x 2160) can be imported and plays. But if you do the maths, UHD is 16:9 (3840 divided by 2160 is 1,77) and 4k equals 1,89, a different aspect ratio. This is confusing, because cinema 4k (1:1,85 or 17:9) would be 4096 x 2216. How is that scaled then? Don't know right now.

​I saw dongles for Resolve for 400€, probably BMCCs and software separately sold. But Neat allegedly does better than Resolves own NR.

This plan is going to work out. People are sick to have to roundtrip with XMLs. An NLE is not just an app that allows you to set in and out points and arrange a clip order in a timeline 'playlist'. It needs to be the hub to connect pre- and post production. As of now, Resolve is forced to understand the proprietary way third-party software organizes the assets. This can only be very limited. The key to attract the masses is simplification, integration, the key to attract professionals is separation, see my old thread.

The reason why BM gives away software for free is perfectly explained above. There isn't much profit in professional software. I have read this before. When one of the biggest broadcasters worldwide, BBC, changed to Premiere (CS 5, that was), they bought 500 licenses. Let's say every license was, dunno, $1500, that makes $750000. They probably got some discount. But with the licenses, they also were entitled to get support. Many Adobe trainers were no employees of Adobe but technicians of the hardware dealers who delivered the, say, Dell workstations. Support doesn't generate income, it's costly. And professionals don't upgrade constantly. They 'don't change a running system' and they have to write off the investments. That's why we have a Creative Cloud now, and that's why BM provides cheap hardware for the masses which we buy because the software is everywhere. Resolve 12 hopefully will have good organisational tools. With growing file sizes (say, 4,6k raw), you need to have every option to hot-swap external drives, make backups in the background whilst previewing your not-yet-imported footage, preferably without having to double-click every single clip, trace your footage, tag it smartly, consolidate it. I hope they've copied something from FCP X in this respect. It should feel like FCP X's browser with mpeg4-files, only with raw files. All in all, the promises look promising

Awesome cinematography on many of the recent VoD-series (did you see Daredevil?). https://www.youtube.com/watch?v=iI2JWIN1zMQ The term 'cinematic' needs to be replaced. How can you turn VoD into an adjective/adverb?

4k BD will be a still birth. The VoD libraries are growing any minute, I monitor a tendency away from discs that only gather dust. You don't?

​Although in the right hands the FS7 will make fantastic images, it does have some flaws: 1. You can't use the E-mount zoom designed for it. Though ergonomically superior, it *always* produces videoish images, even at it's widest aperture, which is only f4.0! 2. You can adapt EF-lenses, but as of now, you will find that the camera and the lens can't communicate reliably. In the middle of a shoot, you suddenly can't change the aperture. 3. You can't judge focus on the bad display/EVF. Unbelievable for a 4k camera. You'll need peaking. But then, the display being so small and soft, you wish you didn't. ​It's the DR. It's black, white or grey and very little in between. GH2 league at most. Look at the sunset at 1'38". My 6-bit field monitor has more vivid colors.