Jump to content


  • Content Count

  • Joined

  • Last visited

  • Days Won


Anaconda_ last won the day on May 16

Anaconda_ had the most liked content!

About Anaconda_

  • Rank
    Frequent member

Recent Profile Visitors

1,389 profile views
  1. I'm not sure why this keeps being said. I set BOTH clips (h265 AND ProRes) to FULL LEVELS and they matched in 16b3.
  2. Just to clarify, my test was also in Resolve 16b3 with both files set to Full levels, and they matched according to the charts in the colour tab.
  3. I didn't transcode anything, this is the OG files directly into Resolve.
  4. Those stills look great, but if you turn all the lights off, zoom in to 500%, strain your eyes and sit 2 inches away from the screen, the image really falls apart. Such a shame because the camera was so close to being perfect, but it's really just overpriced.
  5. Here's a screen grab of the images in Resolve, the left screen is the XT3 file and the right is from the Ninja. I set them both to 300 and lined them up to form basically one image with a line in the middle. I thought that would be the easiest way to see if there's any difference in the colour. - both are set to Full in Clip Attributes. To my eyes, they're exactly the same, but if there is a difference, I wouldn't even think about it while shooting. One thing I did notice though, is the capture from the Atomos is 2 or 3 frames behind the file straight from the camera, nothing major, and I'm sure it's not camera / recorder specific, but worth noting. Edit: If people want, I could also post screen grabs from the colour page, showing the histogram, vector scope, curves etc. But they don't change at all between the clips. Safe to say they're exactly the same image from that perspective too...
  6. I wonder if that's because with Braw, you kind of need Resolve to use it - or be on Windows and buy the Premiere plugin separately. Great news for people who already have one camera with the software though!
  7. If someone uploads a clip, I'll happily open it in Resolve and test some stuff out - just let me know what you need to know about it
  8. It's a shame the price is so high and it still needs external power. For me, the only benefit this has over using your phone is tactile buttons.
  9. Yeah, but even still, I think you'd be better off with one of the smaller sleds that take 1 battery. That way you can just have 3 on rotation and shoot all day long. 1 charging, 1 charged and 1 on the camera. Thanks for the info!
  10. Oh that sucks, kind of defeats the purpose of mounting two batteries for me. Do they both discharge at the same time too? For example, if 2 batteries gave you 4 hours, could you run it for 2 hours, change 1 battery and still have 4 hours to go?
  11. This is an interesting solution. Vmount to dual npf pries with power meters and dtap. Hot swappable external power that's pretty cheap to run all daylong. https://www.amazon.de/Baxxtar-1837-2-V-Mount-Adapter-Ausgang/dp/B077VQ7PVL
  12. Hmm, that's a bummer, but at least the card works somewhat. Since you're using ExFat, have you tried formatting to OSX in camera? If that works, you might then be able to format again to ExFat from the now blank card. A stupid work around, and probably won't work, but I'd try if you haven't already. I also read that if there's a bit of dirt on the contact points on the card, the camera might have issues, while other card readers won't... could you check that just to be doubly sure. I think the best course of action would be getting a new card and keeping this one as a backup, always initiated on a PC and kept in your back pocket. If it's any help, I use these in our UMP4.6k (not Pro) and so far never had a problem. They're also the cheapest Cfast 2.0 cards I could find.
  13. As long as the footage and media is in the same location as your last save, it'll open as normal with everything still connected. If your media is in a different locations, you just need to point resolve to the folder it's been moved to and it'll connect everything in that folder. Cuts, colour, transitions etc. Are all left the same.
  14. @thephoenix For a project that size, I would edit and grade in 1080 and then change the timeline resolution to 4K before the export. I've often had much better playback rates working this way on larger timelines. Of course, change to 4K before you do any graphics/titles as well to avoid them being the the wrong part of the frame later on Doing it this way, you might be able to get away with using the slower drive, but not sure. Or once you've got a first draft edit from the slower drive, you could move the media that you're definitely using to the faster one, leaving the clips you don't need behind. As for exporting the project for reopening on another machine, or simply to keep things organised, I open the first menu (the home in the bottom right), right click on the project you want and then select Export Project and save it the .drp file wherever you need it to be. This is just the project file, so it won't copy any of your media along with it. I hope that helps
  • Create New...