[Andrew Shtern]

They actually have minimum requirements, if you know where to look 🙂

You can find them at the end of the ReadMe for each released version. Here’s the latest one, for example https://www.blackmagicdesign.com/support/readme/dc266500948b4cd1a990cf17a9e85771

Looks like 19.0.2 was the last version that supported 2 GB cards. Starting from 19.0.3 they require a minimum of 4 GB

blackmagicdesign.com

Support Center | Blackmagic Design

Blackmagic Design customer support provides the latest software updates, support notes, instruction manuals and contacts for any product related questions.

[Andrew Shtern]

2GB VRAM is insufficient for Resolve to work properly, even for editing only. Aside from that, 1030 was quite weak even when it was new. You should aim for at least 4GB. The 255W PSU and small form factor are limiting you, so you have only two viable choices—GTX 1050Ti or GTX 1650. Gigabyte had both of them in a low-profile design with 4GB VRAM. 1650 is slightly more powerful but requires slightly more juice from the PSU.

Also, it might be a good idea to stick to Resolve 18 or earlier, your hardware is not powerful enough for R19. All versions are available from the Blackmagic website, you can try them in descending order until you find one with satisfying performance.

[Andrew Shtern]

Most probably that’s multipass kicking in. Just wait until it finishes, it might take a long time. It might be a good idea to render the master in some HQ intermediate codec (ProRes, DNxHR), and then use the master file to encode the other formats.

[Andrew Shtern]

Try to use a difference keyer in Fusion. You need to denoise your footage before keying, and you can combine it with the magic mask for better results. You probably will need some roto anyway, but mostly for the garbage mattes.

[Andrew Shtern]

Hey, no big deal! I’m glad it helped.

Beware of bears and vodka!

[Andrew Shtern]

If that’s the name of your source file, yes. You can safely delete anything in the caches folder, it will be re-created by Resolve when necessary.

[Andrew Shtern]

I’m glad it worked for you. Oddly enough, sometimes the things which should not work theoretically, work practically, and vice versa 🙂 Maybe something changed in the latest versions, I think the last I tried that was in Resolve 12 or something.

To force Resolve to refresh the waveforms you can try to delete your cache files. Waveform data resides in CacheClip/audio folder. You can find the location of your cache files in the project settings. Close Resolve before purging the cache.

[Andrew Shtern]

You need to change the timecode before reconnecting the edit to that file. If you do that after, it will result in ‘media offline’. But you won’t be able to reconnect the edit made with 50fps proxy source to 25fps hi-res source, this is not possible. You need to have everything at the same frame rate first. If you want to reconnect, your hi-res file needs to be identical to the proxy file you have. Same framerate, same timecode. If you don’t have the ability to do a few re-renders, as I described in the previous message, your only other option is re-doing the edit from scratch using the hi-res file as a source and offline edit as a reference.

[Andrew Shtern]

Your first mistake was not asking about the delivery specs, which is the first thing you should know before starting the edit. It is in your best interest.

The easiest solution would be to ask the client to provide the hi-res video with the same fps as the proxy file.

Now let’s try to find other solutions. Is it a slo-mo video (50fps conformed to 25fps, i.e. 50% slower, twice longer), or it’s real-time, just rendered at a different framerate?

If it’s the former, it is relatively easy to solve. You need to conform the footage back to 50fps and change the starting timecode. Both could be done in a Clip Attributes window (right-click on the clip in pool – Clip Attributes…). After that reconnect your edit with this clip. Render the edit at 50fps with some lossless codec, import it back into Resolve, conform to 25fps, and render again in delivery format. Done. As an alternative, you can create a new 25 fps timeline and drag your 50fps timeline into it. Ather way would be to copy all clips in 50fps timeline and paste them into 25fps timeline, but it would require thoroughly checking the edit because it can lead to shifting IN/OUT points and timeline gaps.

If it’s the latter, you’re pretty much screwed. There’s no easy way out of this. Probably the only viable solution would be to put the source video into 50fps timeline, render the timeline, and use that render file to reconnect the edit. If necessary, adjust the starting timecode in the Clip Attributes window. Render the edit at 50fps, import it back, put it into 25fps timeline, and render again in delivery format. Done. You can actually set the render fps directly at the delivery page, but I prefer this way because you can play it and preview the result before rendering.

In both cases, do not forget to set the Frame Interpolation in the project settings to Nearest, to avoid retiming artifacts.

[Andrew Shtern]

What are the color management settings of your Resolve project? You’re saying that the original camera footage is Rec.709/G2.4, but VFX considering it sGamut3.cine/sLog3. So I guess either you’re mistaken about the camera settings, or at some point you convert the camera footage from Rec.709/G2.4 to sGamut3.cine/sLog3.

In any case, the most appropriate way to convert between color spaces in Resolve is a Color Space Transform tool from Resolve FX. It is pretty much self-explanatory, you just need to set the correct input/output settings.