ooh yes that would have been an interesting angle. I like it

Yes Happy Birthday Tony ..mine is coming up too on the 11th .. does that almost make us Birthday twins ? So there's three of us left. It is up to us to re-establish civilization and DS! First we'll need to charge the paddles and jump start Sylvain. ha Hey imagine if Grant Petty had bought the software

Do you think that we're the only two in this forum? creepy like the last two left alive !

I was lucky in that I had built an online suite at home 4yrs back and nearly all my work was happening there. Also, by chance my major client actually kept going with a lot of home shot web videos. My favourite tool now is BMD which you can see so much has been copied from DS. Still so many little basic things that are not completed or as well-thought

Wow Tony ! you the man ! Still using DS that is awesome and I am impressed To be honest it could make sense in an Avid workflow as you say Avid never replaced or bettered it as a finishing tool. There are so very many things that are so right about the software and paint tool is brilliant . What a testament to the team that developed it. Still a really

if there is anyone out there? If not using DS what did you switch into?

I have a couple of confusions that you might have time to clear up? 1. If I want to see or even re-map a button to button with CNTRL ... can I not do that? ie say I would like CNTRL M to be match frame ... I can only see SHFT 2. As someone suggested ... I'd like SHFT ESCAPE to be 'Toggle Source/Record in Timeline' ... I can assign it there

Ok everything I think works out in my head on this... the one thing that I can't resolve is the supplied 444 ProRes quicktime. I find that if I import it into a 422 sequence with 709 LUT it looks correct. So i understand the issue that the same LUT is not appropriate to use when importing into a 444 sequence which is RGBspace but in this case what

Hmmmm so I get 444 is in RGB space and 422 is a YUV (well nearly) space, and from reading that doc it seems the correct workflow is to make the sequence in 444 render it 32bit float then drag it into a 422 sequence, re-render it and export ... does that seem the correct workflow? My slight issue is that the quicktime which is a ProRes444 file looks

I know we have been there in the passed but I have some colourspace issues that are vexing me... 1.) If I take in some 444 files (say Alexa or ProRes) then... why are they different in a 422 sequence compared to a 444 sequence which seems to drop the black level plus is much more sensitive to grade in 444. I expected DS to seemlessly transpose between