Brad Hurley
Forum Replies Created
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I use markers for this. They’re well implemented in FCPX. Just tap m to set a marker, and m again if you want to give it a descriptive name. (If you always want to name your markers, type option-m, which creates a marker and opens it for editing immediately). You can even choose to turn markers into to-do items and check them off as you complete them.
If the playhead is over a connected clip but you want to add a clip to the primary storyline instead, just tap the C key to select the storyline clip and then tap m to add the marker to the storyline clip. You can even add markers to any clip under the playhead (including audio) by holding the command key and tapping the down arrow until that clip is selected, and then tap m to mark that particular clip at the playhead location.
Now, hit shift-command-2 to open the timeline index, choose “Tags” and then use the filters at the bottom to see all of your markers (you can also just see all your to-do items, which is a really efficient way to get through them all). Click on any marker in the timeline index to jump right to it.
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Honestly if you can wait a while longer to see if BMD and Apple make a BRAW plugin available for Final Cut, switching to Final Cut might be your cheapest option. I love Resolve and work in it exclusively but each new version seems to require a more powerful computer whereas Final Cut works fine even on my home machine, which is a 2014 Mac Mini with 8 gigs of RAM and built-in Intel graphics. I spent a lot of money on my Mac Pro (2013 trashcan model, 32 gigs RAM and the dual D700 GPUs) and it works fine with Resolve for now, but eventually it may not be powerful enough.
I think Final Cut is actually the cheapest NLE if you’re working on Mac; even the free version of Resolve requires a lot more computer than Final Cut does, and while its color correcting tools are still a far cry from Resolve’s it has come a long way in the last couple of years.
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It could work, but probably only a person with one of those 2010 Mac Pro cheesegraters could tell you with certainty. There are a ton of them still in use. You might want to post your question on the Blackmagic Design forum in the DaVinci Resolve section. I’m pretty sure there are some 2010 Mac Pro users on there who could give you advice.
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I think you’d either have to find some intrepid soul who has performed this experiment already or else you’ll have to perform it yourself. Is your Mac running macOS High Sierra 10.13.4 or later? If not, it likely won’t work (see the support article I linked to above).
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As far as I know, only Thunderbolt-3 equipped Macs can run eGPUs:
https://support.apple.com/en-us/HT208544
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Since you’ve already edited the footage, try using optimized media (rather than reimporting everything in Prores). I forget that this option exists because I only work with my own footage, and I always shoot in Prores HQ or occasionally raw. But using the optimized media option in FCPX will transcode your h.264 footage to Prores, making it much more amenable to grading.
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H.264 is really a delivery codec, not a codec you want to be editing and color correcting in. Any flavor of Prores would be better.
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Maybe try exporting the files from Resolve as Prores HQ instead of H.264.
You can still set the output color space in Resolve to Rec 709, but render the files as Prores HQ. That’ll give you more latitude for color correcting, for one thing, but might also avoid the problem you’re seeing. just a guess, but worth a try.
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As a follow-up question are you using the color wheels/boards/curves or are you applying a LUT? LUTs will sometimes make log footage appear overexposed, especially if the original footage wasn’t exposed or white-balanced properly.
If you’re applying a LUT, are you applying it in the inspector, or are you applying it as a color effect (dragging the LUT effect onto the clip in the timeline)?
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I’ve never experienced anything like this.
What kind of footage are you working with, and what color correction tools are you using within Final Cut?