Brad Hurley
Forum Replies Created
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Actually the most effective way to use Izotope RX with Resolve is to use the standalone version of RX as an external audio editor in Resolve and don’t bother with the plugins. The plugins don’t have the full functionality of the standalone version, and Resolve makes it a piece of cake to roundtrip the edits you make in RX. All you have to do is set up RX as an external audio editor in Resolve’s preferences, and then if you go to the Fairlight page and right-click on an audio clip, you’ll see an option for External Audio Process in the contextual menu, with a submenu that allows you to choose RX or any other app you’ve set up as an external audio editor. Once you choose the external editor, it creates a copy of the clip with a new name in the Capture folder. When you save your edits/enhancements in Izotope RX, it overwrites this copy. Your original audio files are untouched; the edits are made to the copy.
See https://forum.blackmagicdesign.com/viewtopic.php?f=21&t=79216 for more details.
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“The insert edit button is severely limiting – as mentioned above there is no way to use it with only video and not audio”
But as described above there is actually a very simple and effective way to perform insert edits with only video and not audio. Learning how to use the track destination controls and the auto-select buttons in the track headers is key to efficient editing in Resolve or any other traditional track-based editor. Using those you can precisely control what happens when you edit new clips into the timeline or (in the case of the auto-select buttons) what happens to other tracks when you make edits to clips already in the timeline.
If you don’t want to insert any audio, just be sure none of the audio tracks have their destination controls enabled. The audio will have nowhere to go and won’t be added to the timeline. The destination controls are essential if you use the function keys instead of drag-and-drop to add clips to the timeline, but even if you use drag-and-drop they’ll save you time.
There’s also another easy way to drag video without audio into the timeline: just hold down the option key on Mac or the alt key in Windows while dragging the clip. If you want to edit audio only into the timeline, use the shift key while dragging.
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I suspect it’s a permissions-related icon. In Catalina (and maybe in Mojave as well, I can’t remember) Final Cut needs permission to access your downloads folder. If you haven’t given it permission there won’t be anything visible when you open the folder from the Import window.
How do you give it permission? I’m not sure; all I know is that I got a dialog box asking me to give Final Cut Pro X access to my downloads folder and I gave it. Once I did that I could see everything in the downloads folder.
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See pages 2322 and 2323 in the current (version 16) user manual. Key text here is:
“Adjustment clips can be used to apply the following types of effects:
-ResolveFX and OpenFX plug-ins
-Inspector parameters, including Composite, Transform, Cropping, and Dynamic Zoom
-Fusion page effects
-Color page grading and sizing. -
“Now if I can only export info out of that to excel :)”
DaVinci Resolve can export its timeline index (or any filter applied to it, such as an index of all your markers or a filtered set of markers) to .csv, which is really useful. I use it, for example, to generate shoot lists based on comments I’ve added to markers (i.e., I see areas where new footage is needed and create markers at those points in the timeline). I haven’t checked to see if this works, but it would be worth exporting an XML from Final Cut and importing in Resolve to see if the info you want to export to Excel is available in the index in Resolve.
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FYI, I found this tutorial (which is for DaVinci Resolve, but most of the basic principles can be applied with FPCX as well): https://www.premiumbeat.com/blog/fix-variable-nd-filter-vignette-davinci-resolve/
Shape masks in FCPX are the equivalent of power windows in Resolve, although Resolve has a lot more options (including built-in tracking). The excellent Advanced Color Grading in Final Cut Pro tutorial from Ripple Training shows you how to apply a vignette, among many other useful techniques; to eliminate vignette you would essentially follow the opposite procedure by (as I noted above) inverting the mask by click the “outside” tab to make changes to shadows/midtones/highlights outside the mask using the color wheels.
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There’s no easy fix for this kind of vignetting (you can avoid it by ensuring that you don’t use the maximum settings on your variable ND filter; you can screw a fixed ND filter above or below the variable ND to get more light reduction without vignetting). But you could try applying a shape mask, invert it, soften it considerably, and adjust the master or highlights color wheels to make the luma of the area outside the mask more closely match that of the area inside.
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One other thought if you’re allergic to the idea of FCPX (which is understandable, although I’m pretty impressed with it and have decided to duplicate my current Resolve project in FCPX to see whether it’s a viable alternative for me for the future): refurbished Windows gaming PCs can be had for $2K or less with 16-32 gigs of RAM and GPUs that can handle Resolve. If I were to switch to Windows (an option I’ve considered a few times), I’d turn that PC into an appliance and keep it disconnected from the internet, no updates to the OS; this is what the Hollywood studios do with their Linux machines. Linux is of course an option as well; Resolve’s Linux version is designed to run under CentOS. Setup can be geeky.
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Coincidentally, Mark Spencer of Ripple training just posted a really informative and detailed set of tips for complex multicam editing in FCPX: https://youtu.be/IMS0iDOg3Q4
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Forgot to mention that you can also quickly navigate to markers by tapping control-; (to go backward in timeline) or control-‘ (to go forward).
So if you just want to drop a temporary marker, go somewhere else in the timeline and then go immediately back to the marker you created, you can type m to set the marker, go to an earlier spot in the timeline, and then tap control-‘ to go right back to the marker.