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Davinci Resolve basic import footage question
I am brand new to Resolve -have used Color though but my question is -according to the resolve manual to view your media you just select it on your media drive.
I set up my media folder on my 2tb raid firewire drive.
Do you need to transfer the media into that media folder for Resolve to see it or can you just browse to any folder to find media.
I did transfer 1 .mov into the media folder but Resolve still didnt see it
any help?
Matt
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11 Replies
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Select the drive you want to serve as your Resolve media drive. This includes source footage and rendering.
When you want to work with different projects, the source footage must be somewhere on that drive.
It may be possible that you either
a) don’t have the footage in a codec Resolve can see. For instance, all the Prores codecs are supported. What codec does your footage have?b) You started Resolve first, moved the footage into the folder, but didn’t refresh in the Browse page. You will need to right-click and hit Refresh in order to see it then.
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Agh –I got it -my first file was an animation codec -and then I imported a Pro Res file and it worked
Just curious what codecs work and dont work with Resolve –
is there a document page somewhereMatt
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I would stay away from everything but ProRes 4444 or uncompressed for intermediate grading files.
Only for delivery you should go below and make you client happy.
“please send us a Quicktime not bigger than 10mb for the 2minutes HD project we worked on the last 10 nights” 😉A slice of color…
DaVinci 7.1 OSX 10.6.6
Dual Xeon 2,4 RAM 24 GB
RAID0 8TB eSata 6TB
GTX 285 / GT 120
Extreme 3D+ WAVE -
Hey Sascha
thanks for the input but let me ask ya this.
what if the footage you have isnt even 4444 -say its from a DSLR that only shoots 420 -I know you have to convert that to lets say a Pro Res file but you cant really convert a 420 color space to 4444 -the color info just isnt there.
what would be your thoughts on that
thanks
Matt
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I recently worked on 21 videos shot on a 5D. The photographer converted them to ProRes LT. Plenty of information in that yet make it look good. It’s lightweight too.
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generally you do not have to convert if you manage to use original camera files as they are h264.
resolve suports them directly as is.problem is how to get edl from lets say fcp as fcp do not play native h264 well.
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Margus
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I have a lot of crashes using H264 files directly.
But I agree, conversion to 444 wont add anything but space between.
Actually I would convert into DPX.
I am putting everything into folders from now on and just change the version numbers of the folders.
This seems to be the best way to maintain a proper workflow when dealing with multiple version and iterations.A slice of color…
DaVinci 7.1 OSX 10.6.6
Dual Xeon 2,4 RAM 24 GB
RAID0 8TB eSata 6TB
GTX 285 / GT 120
Extreme 3D+ WAVE -
Anything beyond ProRes 422 is overkill for DSLR footage, IMHO.
Director of the Institute of Media Research (IMF) at Braunschweig University of Arts
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My thoughts exactly.
The project I had lately with the interlaced footage being mixed with 5D MKII footage went live and was broadcasted. Nobody noticed or said anything about the visual quality. The 5D footage was converted to Prores 422 LT for editing and color adjustments. It looked killer !
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Maybe this is a bit of voodoo magic, or a placebo, but I thought grades done with this held up a bit more than what I usually get with 5D/7D stuff:
https://rarevision.com/5dtorgb/#features
https://rarevision.com/5dtorgb/comparison/
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