Bruno Mansi

Is this with the 2016 model? I've heard that general black level performance has been improved with the 2017 models. I'm hoping to get a 55" B7 by the end of this year - mainly for domestic viewing, so any tips about the best settings for this model would be appreciated.

When you say timeline resolution, do you mean the current display resolution? So, if I have some sort of proxy resolution enabled (or optimised media), then that's the resolution that gets sent to Fusion?

How about.... One More Red Nightmare - King Crimson 16 Shades Of Blue - Tori Amos Orange Crush - R.E.M. A Whiter Shade Of Pale - Procol Harum Black Is Black - Los Bravos ... and for the film noir purists.... Postman Pat and his Black and White Cat - Postman Pat

I've had a play with this on 12.5 and it seems to work as advertised. The only thing I found is that once you've created your Fusion comp on the Resolve timeline, there doesn't seem to be an obvious way to match back to the original clip. The best way around this seemed to be to duplicate the clip to a layer above and send this copy over to Fusion. Since you're a Nuke user, I seem to remember a discussion over at Lift Gamma Gain, where someone was creating a script to enable Nuke to effectively replace Fusion when creating a 'Fusion comp' inside Resolve.

Although there's no display LUT option in AE there is a 'Simulate Output' setting, which is tied in to the whole colour management workflow that Adobe recommend when working in AE. I never got my head completely around all of this, and how it interacts with the OpenColorIO plugin, but I suggest you take a look at the Adobe article and video as linked below. https://helpx.adobe.com/after-effects/using/color-management.html#enable_or_disable_display_color_management http://tv.adobe.com/watch/learn-by-video/after-effects-color-manage/

Hi Tom, I'm guessing that's what you need. It should be an installer that puts the OpenCOlorIO AEX plugin into the appropriate folder. I was asked to help test it out a while ago for someone who was going to use it in their ACES workflow. In the end, they decided not to go ACES, so I never got around to trying it out. I have a copy of the manual which I'll attach here. Hopefully it will give you all the info you need to install and test the plugin. OpenColorIO AE Manual.pdf

Blackmagic have released 14.01, but looking at the list of fixes, I don't see a mention of this particular error message.

There's an OpenColorIO plugin for AE you might want to take a look at, especially if you're considering some sort of colour workflow for your project. Go to... http://opencolorio.org/ The good news is it's free!

Assuming you have the Avid codec pack installed (which will have been done if you've installed Media Composer) then there should be no problem. I've had Premiere read both MXF OP1A and OP-Atom files without any issues. I believe the latest versions of Premiere might not even need the Avid Codec pack installed as these are Quicktime based, and many software manufacturers have been removing the dependence on QT, and providing native support for the codecs.

Good to hear, although the 'Editions' are still in beta for the time being. Been looking to try out the Avid version for over a year now. Hopefully the beta phase will be relatively short!

Does this announcement mean that Filmlight are finally going to roll out version 5, post IBC? I can fully appreciate that they want to iron out the majority of the bugs before releasing the new versions, but I remember going to their offices this time last year for the demo of v5. Compare this to Blackmagic, who seem to bring out new revisions to Resolve almost on a weekly basis.

Sorry, I misread the first sentence! First of all, the only type of MXF file that can exist within the numbered Avid Mediafiles folder is the OP-Atom variant. If you've rendered out OP1a from Premiere then dumping them into the Avid Mediafiles location won't work. One way of testing this out is to create a new Avid bin in your project, then use Windows Explorer/Finder to go to the location of your Avid Mediafiles. Find the database file (the one with the .mdb extension) and drag-and-drop it into the bin you just created. This should cause the bin to fill with all the master clips within your mediafiles folder. If you can see and play the clips you exported from Premiere, then all is fine. If you don't see them, it might mean they're not the right MXF variant. It's possible that the database didn't re-build when you added the media (which it should automatically do when you start Avid), but you can force a rebuild by deleting the two database files (.mdb & .pmr) and restarting Avid. If you do have genuine OP Atom files, then it might simply be the case that you need to re-link these files to your offline media by using Avid's re-link command. There are lots of options to be found in the re-link dialogue box, and it can be a bit of a hit-and-miss affair as to which options work. There's a number of tutorials you can Google that'll explain what the various options do. If you decide these files aren't OP Atom, you'll need to link to the files. You can do this from the same re-link menu, making sure to only relink to linked(AMA) media.

If the file path to the media is different on the workstation with Premiere, then it won't automatically link - unless Adobe introduce some sort of auto file search when it encounters offline media. This may be a long process if you have a lot of storage, as the software has no idea where to look and could spend a long time searching. However, if you have one of the newer versions of Premiere, it should have popped up a 'Link Media' dialogue box once you loaded your AAF, so that you can tell it where to find your media. In any case, it should be an easy task to do this manually. I suggest you look at this help page from Adobe... https://helpx.adobe.com/premiere-pro/using/relinking-media.html

Never seen the highlight button do that to a timeline! Sounds like a bug. Are you working on v14 by any chance?

I'm not quite sure what problem you're describing. Did all the clips appear in the media pool when you originally brought in the AAF? Are these clips still there, but your sequence has now become unlinked to these clips?

Don't know if you're on a Mac or PC, but there's an issue with drivers and the Quadro 4000 card. It's being discussed on the Avid forums now. Go to.... http://community.avid.com/forums/t/181402.aspx

Hi Nicolas. If you're thinking of buying OLED, FSI have a comparison video that explains the differences between models.

Not sure which range you're talking about (AM, BM, CM, DM) but the 240s were LCD and 250s OLED

I'm not absolutely sure on this, but as far as I'm aware, whatever you've set Resolve or your monitor to display, the Windows OS and graphics drivers are working in sRGB colour space. You really need to feed your monitor from a Blackmagic playback card such as the Decklink range. I'm tempted to ask why you're wanting to view in DCI P3. If it's to grade for cinema projection you should be aware of the possible pitfalls in relying on your Dreamcolor monitor. There's been discussions on this topic in the past, so I'll just direct you to one of these... http://www.liftgammagain.com/forum/index.php?threads/dci-p3-workflow-video-card-req.5144/

I think they are available to purchase in the UK. If you look at this review... http://www.trustedreviews.com/panasonic-ez1002-review At the bottom you should see that Currys PC World are selling it for £5999. The model number varies depending where you buy it. Most other places it will be called the ez1000. The '2' is added to the UK model because of the inbuilt Freeview tuner.

Not many people using Edius. In fact I've never met anyone who's cut on it or had an AAF from an Edius system. There's some stuff on the internet about this topic. For example... http://www-en.ediusworld.com/docs/Application_Notes/professional/edius/GVB-1-0030B-EN-AN_EDIUS_DaVinci.pdf or

It's possible that the Avid codecs simply aren't installed. Head over to... http://avid.force.com/pkb/articles/en_US/download/Avid-QuickTime-Codecs-LE

Are you referring to online/near-line/archival storage solutions or the types of interface?

Just bought and tested the Patriot 32GB Supersonic Rage Series USB 3.0 Flash Drive. Can recommend this product if you want a fast memory stick. Very decent write speeds of around 80MB/s, with read speeds of 160MB/s This was on a Win 7 laptop with the Rage's USB Device Policies (found in Device Manager- Properties-Policies) set on 'Better performance'.

I've had this happen occasionally with AAF linked media on version 12 when I chose the 'Automatically import clips' option. It seems that Resolve gets stuck scanning the media drives before finally crashing.Try bringing in your material to the media pool first, then importing the AAF without this option set.