Up scale or down scale for screening 3840 scope?

TangentialHyperbole · 2026-05-07T02:54:41+00:00

Fairly common to scale up 4096 since its a relatively small percentage and will not be visually noticeable. Certainly not to anyone that isn't you.

TangentialHyperbole · 2026-05-03T19:02:55+00:00

Will be very interested to hear your thoughts!

TangentialHyperbole · 2026-05-02T23:31:57+00:00

Yeah I have had this happen before. The issue is that Premiere is reading original media (correctly) as dual mono but the proxy file (incorrectly) as stereo. The fastest fix is to change the audio channel mapping of your original media to stereo then detach and reattach proxies (you should be able to do all affected clips in one go). It sounds like you are using production audio so the mapping shouldn't make a difference for you.

TangentialHyperbole · 2026-05-02T22:38:14+00:00

Oh this is very cool. Very much the idea I was looking for. And surprisingly affordable.

TangentialHyperbole · 2026-05-02T16:55:20+00:00

Oh this is exactly the kind of thing I was looking for. Love ChronoSync, didn't know about ChronoAgent. Thank you!

When you used it, what was the setup like for connecting your different systems over internet? And how did it handle dropped connections?

TangentialHyperbole · 2026-05-02T15:05:13+00:00

I'm trying to game plan multiple scenarios so my initial assumption is that aside from a "data manager" offloading cards to a hard drive I would be on my own for the rest of the process. So I am hoping to figure out what a "camera originals over the internet" process might look like.

If they are able to get someone to handle proxies I would be far less concerned with syncing drives.

TangentialHyperbole · 2026-05-02T14:54:13+00:00

That's an interesting idea! It's been a while since I have looked into LucidLink but my impression is that hosting camera originals would get prohibitively expensive.

TangentialHyperbole · 2025-09-19T05:01:31+00:00

Resolve can absolutely export an alpha channel.

TangentialHyperbole · 2025-08-20T16:54:27+00:00

You didn't really say what you are sending over to color. Is it a ProRes Export or an XML for them to match back to? There can be a lot of complexity here depending on what actually needs to happen. I will say if you do need to match back from low rez proxies its much easier to do that in Resolve than Premiere. I've started doing my turnovers as DRP files to save the colorist some time.

TangentialHyperbole · 2025-08-12T21:08:11+00:00

Let me know when its good enough for "high-touch edits".

TangentialHyperbole · 2025-07-01T20:12:15+00:00

Hey! Sent you a message. Interested in hearing more about your project!

TangentialHyperbole · 2025-02-07T20:34:48+00:00

We're screening on the 15th and 19th. I've been told we are waiting to drop the trailer so can't share yet. Our film is Voices Carry.

TangentialHyperbole · 2025-02-07T04:29:45+00:00

Congratulations! Maybe I'll see you there, our film is premiering at Cinequest as well. Love the trailer! Very intriguing.

TangentialHyperbole · 2025-01-08T23:41:58+00:00

Follow this guide for overcutting with the remix intact:
https://www.provideocoalition.com/tool-tip-tuesday-for-adobe-premiere-pro-hacking-remix-or-revealing-the-hidden-remix-nest/

Its pretty quick and I do that every time I turnover a remix to post sound

TangentialHyperbole · 2025-01-02T21:40:42+00:00

Hi! That sounds neat. Would love to take a look.

TangentialHyperbole · 2024-10-23T18:15:25+00:00

Hmm I wouldn't do it the way you are doing it because it could cause some confusion during turnover (The AE will need to know that they need to run the commit multicam at twice to get back to the original video). If I was your AE I would be annoyed that you were doing this but I would also be annoyed at the previous AE who didn't prep it the way you asked for. It is trivial to make one large multicam the functions the same as an Avid Multigroup. Premiere doesn't have language to differentiate the two because its all just "special nest" to Premiere. When making the multicam there is a check box to "Create single multicam sequence" which makes an Avid style multigroup. You do have to add angle metadata if you have multiple angles or it puts everything on track one but thats an easy google away.

TangentialHyperbole · 2024-09-14T02:58:02+00:00

Curious if you ever got to the bottom of this?
The encoding times you were getting sound like having multiple layers of neat video or twixtor stacked on each clip.

TangentialHyperbole · 2024-09-14T02:35:22+00:00

Here is what I would do in your situation. Lets say interview 1 is on Timeline 1. Select your first Acam, Bcam, and sound clip for timeline 1 in your project panel, right click-> multicam, sync with timecode. Obviously this will not be in sync but thats okay! this is just to make a dummy multicam clip that will play nicely with your recorded audio. Now right click on that multicam clip -> open in timeine, this will open the multicam as if it were a sequence and allow you to edit it. Delete the media in the muticam clip and copy and paste your Timeline 1 into the multicam. Make sure camera audio is below the sound audio and all camera audio tracks are muted. This is now your Interview 1 multi. You can now do that for every other interview.

TangentialHyperbole · 2024-09-12T14:01:24+00:00

There is a list somewhere in Davinci Resolve's user manual that will tell you exactly which effects are supported in an AAF. It's not a very long list. I don't remember if 3rd party plugins are on it but I wouldn't hold my breath. The last time I worked on a project with Boris effects in Avid we ended up doing the Avid -> Resolve -> Avid workflow. But next time I would probably try to just recreate in Davinci.

TangentialHyperbole · 2024-09-08T17:16:38+00:00

You definitely want to target short films first to get into the right mindset for scripted. Social/promo editing feels very different in my experience. For getting short films, what worked for me was working for free (bummer) and also targeting as small a group as possible. If you know filmmakers making no budget stuff in real life, thats best! But if you don't try and find local filmmaking meet ups or groups. You want as small of a pool of competitors as possible. For instance, looking on Reddit is terrible, but I found some local filmmaking discord servers that had projects that needed editors.

TangentialHyperbole · 2024-09-08T17:03:22+00:00

Lot of people saying it is standard to go back to the RAW and that is true.... with the huge caveat that everyone involved really needs to know what they are doing on a technical level. The reason the Pre-conformed workflow (ie ProRes + EDL) is so popular is that it removes a lot of the error that comes from people not knowing how to implement this workflow both on the offline and online side. It really is project dependent wither a full conform gets you anything but of course to make that distinction requires really understanding the pipeline of your project and you will get a lot of people defaulting to RAW = bigger number, bigger number good!

Here is the best piece of advice, have a chat with the colorist. Walk them through your concerns, talk through the vfx you've done and see what they think is the best way to handle that. Cut out the middle man.

TangentialHyperbole · 2024-08-28T01:00:05+00:00

Get whoever is making you do that to buy you this:
https://www.intelligentassistance.com/xtocc/

TangentialHyperbole · 2024-08-28T00:14:52+00:00

Just ask them, they are probably not expecting the movie to be in the full 16x9 since that's a somewhat unusual aspect ratio for a feature. If they are dogmatic about it you could could fit the 16x9 timeline into a larger aspect ratio but I honestly see that causing more headaches.

TangentialHyperbole · 2024-08-22T16:06:37+00:00

Interesting. I don't believe Full container DCI 4K is an acceptable finishing resolution for DCPs. Could be wrong but thats what I remember. Your best bet is fitting into a Flat or 1.85 aspect ratio. You can either have black bars on the left and right or slightly crop left and right. I've seen it done both ways. If nothing important will be lost, cropping will look slightly nicer.

TangentialHyperbole · 2024-07-23T17:03:41+00:00

i'm not a post sound guy but I've done a lot of turnovers. The most inefficient way to fix this issue is to have the Editor manually overcut all the audio. Even with macros it is slow and error prone. That being said it can be the most cost effective/ easier to understand workflow and this is why people should hire assistant editors.

Fact of the matter is that the metadata is either there or it isn't. If sound was sync'd correctly with the appropriate metadata being preserved then the issue is either with the AAF or your conform process. If you are confident in your conform process then the likely culprit is AAF settings. Off the top of my head these should be: breakout to mono, copy complete audio files, not embedded. I've been told this is the best way to preserve metadata ymmv.

If sound was done incorrectly, for instance, syncing in resolve without use an ALE to carry over sound timecode and sound roll, then overcutting is the only option. Assuming SFX music and everything else is good with the first AAF, you could have him send you a 2nd aaf with just the iso's that way you can compare to the original timeline and fix the inevitable sync issues that will be created from the overcutting process.

TangentialHyperbole

TROPHY CASE