[Blase Theodore]

hey Vlad,

Cool, checked it out. Seems you’re basically assigning a randomly generated suffix per clip.
It seems that you could even take this a step further.

If the suffix were generated predictably, you could feed the script both an EDL and XML from your FCP project. (The script would modify both EDL and XML with the same substitutions.)

Resolve would import the EDL, output the media, and you’d import the new XML into FCP.

Then we’ve got actual roundtrip functionality.

Off topic, the “right” way to be doing this is supposedly using the “split and add” function. I however have never gotten it to work correctly. Do you have any experience with this? If yes, why did you choose the script over split and add?

[Blase Theodore]

Cool, thanks Vlad.

Whats the difference between doing this, and just reconnecting to media in a single folder? (assuming you had media managed it beforehand?)

[Blase Theodore]

Ok thanks for the heads up.

I am working with footage from the latest firmware, I’m assuming V2.1? Is it using the same color science as v1?

So footage shot on alexa v2 may look better when rendered through the v3 colorscience based LUT? Or should only footage acquired through v3 firmware use the v3 colorscience based LUTS?

Did you develop these LUT’s or just release them? Will there be new LUTs based on the new firmware posted soon as well?

Thanks!

[Blase Theodore]

Very cool, thanks man!

[Blase Theodore]

That’s brilliant Warren! I’m also in for any advanced online or NY course.

[Blase Theodore]

[Rick Turners] “In Color we could paste one grade onto one key frame, paste the next shots grade on the following shot. Is this possible in Resolve (It’s not the manual)”
Rick, yes, this is exactly how its done in Resolve. And since Resolve was originally designed to work this way, the keyframing is actually very powerful.

The specific example that got referenced was a native media timeline (i.e. RED, Phantom, Alexa) with multiple dissolves. In those situations, you can’t render and keyframe a single quicktime, and thus there is no good solution.

[Blase Theodore]

Darin,

I’m guessing you haven’t yet had to deal with multiple overlapping dissolves (and the resulting headache). But what happens when you do? Would you turn away the job?

With longform stuff, the edits can typically be collapsed to just one track, and I’m happy to do that. But with shortform stuff, the editing can get pretty “fancy”, and collapsing is often not an option.

Lustre, Quantel, Scratch (very soon), Baselight, Filmmaster, even Color have multi-timelines.

But this thread isn’t even about that. Its about how we can advance the package in a way that accounts for a diversity of needs. I suggested a way in which my needed feature could be fulfilled without bottle-necking your needed feature. I’d love to hear other ways which address product growth itself, rather than specific feature requests or their relevance.

Believe me, I’m thrilled with what Resolve brings at this price point. Its insane what they’ve offered. But I don’t think BM is trying to replace Apple Color, when they have the DNA to replace the entire market.

[Blase Theodore]

Ilya,

I’ll keep my response professional. These are legitimate concerns. Your implications that we’re requesting additional toolsets because we don’t understand how to thoroughly make use of the current ones is off base and counterproductive to our mutual cause.

When a client delivers a 5 layer timeline of R3D material with 3 layers of interweaving dissolves and a 12 hour deadline, I need a tool that can actually do the job. Right now my options are:

a: lose the client
b: do the job in another package

I spend 30-60 hours a week on a Resolve box. The current toolset is adequate for 80% of the jobs I do. But I’d prefer not to lose 20% of my clients. If you’re not running into the problems due to these missing features, then its simply a matter of time till you do.

[Blase Theodore]

Sweet thanks Vlad.
I had never tried the “cmd +” variations.

FYI I have the HSL’s toggling and +s-s via Quickkeys. (search my novation post of you want the file.)

[Blase Theodore]

Yes, I was missing something. Its amazing that you can gloss over these little details for so long before you realize you were missing them.

• Create an A-> B two keyframe animation
• switch the node to auto-keyframe by clicking on the layer’s little square in the clip/track/unmix timeline
• make your adjustments in between A and B.
• Switch it back off.

Pretty simple.