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working with Multiple Timelines/Video Tracks
Hey guys,
I have an existing session with a v1 track. I’m trying to take a track from a different session (in the same project), and paste it into the first session on a new track. Is there a way to do that?
basically I have a tv show where we do the conform and color, but then a bunch of revised VFX shots come in later, and it would be *way* easier to conform those to a new track in resolve, so I could see them in context.
In the past we’ve just been fully reconforming and color-tracing, but that seems like an extra step we don’t need, as it always takes time.
-Elan Dassani
Master Key Post -
13 Replies
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Hi Elan,
Unfortunately the Resolve conforming module is basically in its infancy. What you’re suggesting is sensible, logical, useful, and…….. can’t currently be done. You cannot combine timelines, and you cannot copy from a track in one timeline to a track in another timeline. You also can’t conform into a specific track.
You might want to look at some other options, such as using subfolders in the media pool. If you put the original VFX shots in a subfolder, it becomes reasonably simple to update them by creating a new subfolder each time you have revisions. You’ll need to be careful to maintain the same file names, tape names (if used), and timecodes (you can change that within Resolve if necessary), but by using “reconform from folders” you can uncheck the original subfolder and check the new one, which will essentially replace the older shots with the revisions. Color tracing won’t be necessary because the colors are still valid in the Master Session, as well as still existing in the conform. Of course, all of this only works on shots that are being replaced, not new shots that weren’t in the original conform.
Hope that helps, and hope things are going well on both shows. But if they aren’t, I think you have my number……
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I agree.
fx shots should be already in fcp timeline.
It is really simple to have raw vfx shots on one track in fcp before exporting xml.
Should be really simple. And vfx shots in folder that you can change later as needed.
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Margus
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Why go to all that trouble?
Add the vfx shots in FCP, and export and import a new XML. As you would with new cut.
Joseph Mastantuono
Online Editor – Colorist – Post Consultant
Brooklyn based finishing at reasonable prices
917.969.1583 -
Elan’s two shows are both cut on Avid, as are nearly all network and cable level dramas. And, as he mentioned, he’s trying to avoid the full reconform, as would be the case bringing in a new list for the entire show.
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Well, lets say we would like to avoid FCP in the future as its EOL.
Just getting in a second EDL on top of the first one would solve a lot of problems.
Until of course there will be a button in FCP X “Send to Resolve” (And get me a coffe) 🙂A slice of color…
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>>Until of course there will be a button in FCP X “Send to Resolve”
That’s going to be a bit difficult since FCPX doesn’t actually have tracks.
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anyway my point was that you prepare timeline with cg files on top layer etc and later only change media directory. no conform. you conform only once.
general idea just like with other computer software where you can point where your actual media is.
does not matter if you use fcp etc.—
Margus
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Hey Mike!
Much appreciate the input! We’re using the “Reconform from subfolders” a bit now, but ultimately our bigger issue has less to do with adding new versions, than it does with the initial VFX drop-ins. As you well know, we’re dealing with a whole lot of VFX shots, and we can’t wait until they are all in before conforming 🙂 Until we get first versions of those VFX, we still have to reconform, then color-trace when large batches of effects come in. Not a big deal, just annoying. I know you know all of this, its more for everyone else to know.
The only real solution, as you say, is to actually be able to copy from one track to another, conform into a different track, etc. and quickly switch from one track to another in the “Color” module, in order to look at various versions. Hopefully soon Davinci!!
And I certainly do have your number, I appreciate it! I’m definitely looking forward to seeing what Davinci comes up down the line.
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Hi Elan,
If I’m not mistaken – and I may be, because I haven’t tried this very much – you should be able to avoid the color trace by bringing the new shots into a new subfolder in the media pool, then loading the new EDL (or AAF, or XML, whatever you’re using) into the same project. That should – at least in theory – automatically assign the already colored shots a grade based on the master session and only leave the new shots without grades. I know that works on shorter timelines that I’ve tried, but I’m curious as to whether it would work on a full show. It’s easy enough to try, and you can always just delete the new timeline if it doesn’t work.
Try it and let me know if it works. At the very least, it would save the trouble of creating a new session and going through the color trace dialog.
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I was looking at how to combine timelines in davinci and I dug up this old thread. It is seems that even today it is not possible to combine timelines in davinci. But then how do you guys edit long feature films ? I come from FCP and I liked the possibility to created severals sequences and to combine them into new ones to edit larger part of my movies. You cannot do that in davinci ? But then another question comes to my mind : what are multiple timelines useful for then ?
Thanks
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