[Charlie Edison]

Those variables for rendering also work in the render path,

Try /Vol…../%L/

There are two more variables missed above
%I = the rendering timelines shot number
%S = when in stereo 3D render the word left or right

Enjoy

[Charlie Edison]

Did you split and add from all your EDLs into the media pool?

If you split and add with say 150 frame handles from all your EDLs (select multiple edls after you choose split and add) then the master session will have all the shots required for all the above EDLs and with large handles, 150 frames gives you six second pre-roll so you can powermaster straight to tape.

If you need to render, render the master session that covers all your off-line EDLs in one render.
Use alt version for a different grade and commercial work flow on the render page to render alt versions

[Charlie Edison]

Rule of thumb!
Ask the client how much they’ve budgeted for the final grade,
Instantly divide it in half, then
Divide that by your hourly rate to find how much time you
DONT have, then double that for a real world expectation
The final result will = not enough time and not enough money with clients expectations way beyond both.

So about 1 day per 30 mins 2D and 2 days per 30 mins 3D, plus another 3-4 of your own time for pride and joy!

Enjoy!

[Charlie Edison]

Its work flow really.

Do you really need to grade wiu 4k images, I expect not.
Make you self some 2k or hd proxies, then get into serious realtime grading, once your done render out your from your 4k raw if you really need to,

Use your proxy manager and make 2k proxies

Even with a 4gpu Linux system with a bright San you’d be pushing your luck expecting real time 4k,

Also FYI, if you don’t need prorez 4444 for any other reason, then choose dpx as your intermediate or go between file format. Resolve works most efficiently with dpx on both Mac and Linux system.

Cheers

[Charlie Edison]

Try the “nucoda” function -1 -2 but hit prvw.
to recall the grade. In fact use any number. The shot number works as does +numbers,
BTW, the DaVinci classic back in 1987 was first to have this handy function.

Cheers

[Charlie Edison]

Try splitting and adding just that shot with handles twice as long as the edit and then on your time line select reconform from reels

My guess is resolve is not adding enough length to the shot for it to play it backwards

To confirm, write down the timecodes for that shot and then check the media pool for the shot, sort the media pool by source timecode to assist finding the shot

[Charlie Edison]

yes !

type clip number comma clip number , hit loop !

eg

12,33 loop

loops clips 12 to 33

[Charlie Edison]

Without getting in to a heated discussion about who has a better keyer,

(when in fact there’s really no comparison.. 🙂

here’s a few tricks,

I hope you using the resolve panels to isolate the keys using the soft knobs, ultimately the best way to refine your key!
Using HSL, work the low/high/soft saturation and low/high/soft luminance control until you get a better result, before reaching for the blur key knob, select key tab/button and then adjust the Qualifier “Gain” control.
This can help flood the key selection or inversely decrease the gain, then reach for the key blur, shrink grow.
Another helpful idea is to go hard at the qualifier, over do it a tad and then use output post mix to mix out the correction until you get the level of change you need.

It can be quite hard to qualify a color at the end of a bunch of serial nodes, try adding a parallel node that connects to a clean base grade (ie, node 1) and then key that and add the output of that back into your grade…

[Charlie Edison]

Edl looks fine,
Ok I’m assuming the R3d files are in the same original red created folder structure where 1folder up from the r3d is named the same as the actual file, but in case it’s not.. Try this
In resolve in config, change using reel number assit to /%R*

Use the test functionto see if it pulls the reel number from the file name, a quick way of doing this is in the deck page.
Goto deck page and choose record tab,
Find an r3d file from your job and click it as if you were going to record it to tape, but instead select the file name shown, select the entire line and then apple copy,
Go back to config page and in using reel number assist paste the file path into test and see if the reel number shows up?!
One more thing to check is in the source page that the red setting is using time of day timecode not edge,
Your edl looks like TODcode!

Hope this helps

[Charlie Edison]

Can you post a screen grab of your edl, just the first 10 events or so..