Blase Theodore
Forum Replies Created
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Thanks Rohit.
A note for future jobs… thought not sure it will work..
I think I will have to work RedCine X into the workflow for any future Davinci jobs.
As the “per clip” red settings are currently a bit cumbersome to adjust one at a time, my next workflow will have Resolve set to clip metadata as default, and I’ll keep redcine-X running at the same time.
That way I can quickly pre-grade the clips to the .RMD file through redcine and switch back to resolve.
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Yes, there is but its a pain in the ass. And I only documented the conceptual points, which means you’ll need to flush out the details on your own.
Seriously wait for 7.03 to come out and save yourself the headache.
Email me if you need more explanation on the workaround.
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search for my workaround thread.
Sorta a pain in the ass though. Unless you absolutely HAVE to make a deadline, I would wait for 7.03.
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You’ll need 7.03 to do this which is only a matter of time.
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Ok both workarounds have problems:
Render to separate folders:
shots with dissolves are cut at the dissolve point, so 2 clips are rendered. Resulting media is too short. Render with 10 seconds of handles to workaround.Commercial workflow:
works but any speedwarp shots break it if they are not set as alternate versions.In short, both workarounds are painful.
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Doing the “render each clip to separate directory” isn’t really a great solution because then you just have 30 folders each containing “reel1.mov”. Reconnecting in FCP is a crapshoot on whether you’re connecting to the right one.
If you just have media that all have the same grade, then there’s no problem. It renders 1 big clip and you’re done. But if any of those clips have speed warps, or different versions for grades, then the whole thing breaks.
The workaround is
“use commercial workflow”
“reels in separate..”
“use version as name” ?When you go to FCP, you still have to click “search” for every single clip, but at least it will find the right clip. (With the exception of clips that have alternate grade versions, which still need to be manually reconnected).
This works but is ungodly cumbersome. I’d love a better factory solution?
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No. I’d want all the clips from reel1.mov rendered to one big reel1.mov, and the same for reel2.mov, down the line.
If you’re referring to target mode, it just renders everything on the timeline (all ree1.mov, reel2.mov, etc) down to a single quicktime.
Correct me if I’m wrong.
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It’s not the reconnect thats the issue, its what’s reconnecting.
Lets say I have a 20 min quicktime file called reel1.mov, and the FCP timeline has 30 clips on it which all have reel1.mov as their source. I generate an EDL from FCP, I import into resolve with clip names, and now I have 30 clips on the Resolve timeline named reel1.mov.
When I go to render them, it will render a new “reel1.mov” clip for every one of those 30 clips, right? And unless its set to new folder per clip, it will just overwrite that same file with each new clip it renders?
That would mean I’d have to manually connect a whole lot of shots to new folders.
I guess the question here is, is there a better workflow for this?
Even better, I’d request that resolve be able to consolidate renders. Such that in the above scenario, resolve would render a single QT for reel1.mov from earliest timecode in to the latest timecode out?
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[Rohit Gupta] “Try “*/%R.*” – this should work for both Red and 5D.”
Yeah I had tried that, but then nothing connected.
[Rohit Gupta] “Alternatively, you can set it for Red, add all the Red media. Then set it for 5D, and add all the 5D media to the media pool.”
Yes this works, and is the preferable solution. Thanks!
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Thanks Uli. Was just looking for such a solution.
However I would like to resolve the core issue as well. A non red workflow uses the %R.mov workflow to connect, and the red workflow uses a “reel name is file name” workflow.
I’m bound to run into a feature later where they mixed regular QT footage with red footage. Then I’ll be stuck re-inputting all the QT file names as reel names for every clip. Seems using any r3d on the timeline locks you into that conform workflow.