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A7Sii 4K XML not working?
Let me quickly state that I am rather new to Resolve and learning as much as I can in order to grade my new upgrade to Slog 3. Very excited and very happy with what I’ve been able to accomplish in Resolve so far, but I have run into an issue that is confusing me.
I export my premiere project into XML and I got o import it into Resolve. The first time I did this it worked perfectly, I had some footage that was shot at 120FPS, I made sure the XML files for the footage were in the same folder as my raw footage and poof, it all came over. However, now when I do anything but 120 FPS (I.e. 24, 4K 24) it doesn’t come across? I’ve tried so many variations and even made a test timeline with a mix of footage and all that came across was the 120FPS??
I want to also state that I can manually import the other footage but .. What a pain if I have tons of clips.
Any idea as to what is going on?
Thanks so much!
Best,
David K. -
3 Replies
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Non-timecoded cameras like DSLRs can be problematic in terms of XMLs and transferring to other platforms. My general advice is to transcode this material to ProRes or DNxHD (or DNxHR in the case of 4K), give the files unique non-overlapping timecode (no Hour 0), and edit and color-correct with the ProRes.
You may have to manually bring the files in and nudge the program into recognizing the file names to get them into the timeline. The section in the v12 manual on “Importing Projects and Relinking Media” (pp. 495-545) is fairly critical, and it outlines a half-dozen steps you can do in order to solve issues with conflicting file names, bad timecode, missing timecode, and off-speed footage.
Off-speed footage is a particular problem because there is no accurate timecode with which to match it (since there is currently no SMPTE timecode beyond 30fps). For this reason, I think transcoding to regular 23.98fps media with real timecode is a more predictable workflow, but you can also eyematch it to an offline reference, provided you have time and patience.
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Varispeed files are even more problematic. In the past, the only solution was to eye-match the shot and change the speed by hand.
The alternative is to have the editor transcode the material to a timecoded format at the native project frame rate (say, 23.98fps), and those files will relink and can work in an XML just fine.
DSLRs are not ideal, partly because they generally shoot H.264 files, partly because they rarely have timecode, and partly because they’re almost always 8-bit. To me, these are all good arguments for shooting on cameras specifically made for motion picture production. Even inexpensive ones like the Blackmagic Ursa Mini do pretty well. Otherwise, you have to live with the limitations and come up with workflow workarounds.
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