[David Steiner]

hi gabriele

– Trimmed R3D won’t relink in Resolve: the R3D and MXF have to be exactly the same start & end TC, otherwise Resolve will not “relink the offline clips in the master session to the new files” – it will create other clips in the master timeline, so they won’t share the grades

– it is true that one good thing about grading R3Ds is to be able to change their “digital development”. although:
1) switching MXF/R3D is real fast, so we do it all the time to check & grade, not just for render
2) changing development settings is only useful for “stressed environment images” – ie with strong highlights, stark contrasts etc. -> most of the grades will start with the “basic development” chosen at shoot time
3) we shoot in Stereo 3D, so grading R3Ds in real time would require double rocket cards – we might rent/buy them later, but for now, MXF/R3D switching is a good solution so we can both grade the real thing (R3Ds) and see the result in realtime (MXFs – except for those shots we modified the R3D development settings for in Resolve)

[David Steiner]

managed to have an Epic workflow grading in Resolve without a redrocket card

basically it’s “grading the same MXF generated in RedCine-X used by Avid”, then switching to the R3D for the render/to check the grade on highest res

very simple:
– import the MXF in media pool with “get reel name from embedded source clip” (gets it from inside the MXF’s tape name, not the file name)
– import EDL
– grade
– remove the MXF from the media pool
– add the R3D to the media pool
– all the grades, versions and “current version” are maintained in the timeline which now links to the R3D.

hope this helps
D.

ps: you can switch back and forth between MXF and R3D as long as you don’t forget to delete the MXFs *BEFORE* adding the R3D, and deleting the R3D *BEFORE* adding back the MXF. otherwise Resolve notices that they are different clips, and you get double clips R3D/MXF in the master timeline (from this point, the solution is simply to remove the MXF or the R3D “from the media and from the master timeline” – it’s an option in the media pool)

[David Steiner]

about your problem, Drew, with switch between offline & R3Ds:

Did you try “change parent directory” on the media pool files? If there is a 1 to 1 correspondence between your offline proxies “xxx.mov” and the online “xxx.R3D”, then it should work

it basically just switches the source file of a clip, keeping everything, grades, versions etc. – it does NOT create a new clip in the master timeline

when I got the opportunity to test that, I’ll post my results

Drew, how did you do it with your project? could you transfer the grades?

[David Steiner]

I tried something similar: render R3D “trimmed clips” from Resolve’s Source Mode, grade the trimmed offline clips in realtime (I don’t have a red rocket card), then colortrace to transfer the grades from the offline trimmed clips to the online R3D clips

overall, it doesn’t work. cf: https://forums.creativecow.net/readpost/277/15355

[David Steiner]

Hi,

Exact same problem here. Except there doesn’t seem to be a solution.

– I get an EDL out of Avid.
– I add the R3Ds to Media Pool.
– Import the EDL. works.
– then instead of grading the slow R3D (no rocket card either), I render in “source mode” to ProRes 444.

Grade offline ProRes444:
– I create a new “offline” project
– Add prores444 to media pool
– Import EDL.
– I grade.

Transfer back to online R3D:
– I switch back to online project
– ColorTrace to take grades from offline
– Grades are transferred “erratically”

e.g. if I have two clips from the same reel (same R3D file “xxx.R3D”, but two small reel files for Prores “xxx – V1-002.mov” and “xxx – V1-004.mov”), then only the first grade is transferred by colortrace.

It’s like colortrace would need to create a new version for the second clip (from the same reel/R3D file), but it can’t.

Am I missing something? Anybody managed to ColorTrace from “source mode-rendered” media files?

[David Steiner]

I can’t keep “clip name = source file” because my master clips are stereoscopic so I have two sources per clip…

“LE” is “Left Eye”

As for your “replace” solution, I’m sure it works, thanks.
I used a less general solution which works too in this case: I had Resolve ignore the “_01” in the source file names (“%R_01.mov” in “set reel name”) so they correspond to the 8-chr limited ones in the EDL – ignoring comments.

[David Steiner]

hi,

Small problem, maybe somebody has a solution?

I have ProRes .mov files whose file names = reel names.

I import them into Resolve (with the “Extract reel name from EDL” config option), but when I import the EDL from Avid it ignores the comment:

003 LE__0065 V C 18:11:23:18 18:11:25:10 01:00:04:02 01:00:05:19
* SOURCE FILE: LE__0065_01

This gives me “LE__0065” as reel name in the Resolve session, not LE__0065_01

If I export from Avid another EDL with clip names:
003 LE__0065 V C 18:11:23:18 18:11:25:10 01:00:04:02 01:00:05:19
* FROM CLIP NAME: ST:HOUSEWATCH2 T1
* SOURCE FILE: LE__0065_01

then Resolves does fetch “ST:HOUSEWATCH2 T1” as the reel name, but I wanted “source file” (LE__0065_01), not “clip name”.

Anyone managed to have resolve read the “SOURCE FILE” comment from an EDL?

David

[David Steiner]

hi,

I just tried a Ultrastudio 3D on a early-2011 macbook pro with Resolve Lite 8.2beta2, and:
– when I plugged the ultrastudio it did a software update
– the blackmagic desktop video 9.0 (latest driver downloaded) could see the card, I could configure it
– Resolve could see the card in the preferences (to select capture card)
– but no image in “deck” tab, ever

The hdsdi signal was from an Epic, 1080p25 10bit, checked on a monitor. I tried all config options in “config tab”, including “1080p25”, “1080psf25” (RED does specify it’s 1080p and not PSF, but I tried it anyway)

The guy at the renting company had the same experience with another card: Ultrastudio 3D detected, he could make it work with Media Express, but not with Resolve (full version).

anyone tried that? is ultrastudio 3D support “coming soon” or is there a trick?

thanks
D.

[David Steiner]

thanks for the answers

I won’t even try the redcode path, but I’ll test the hardware to grade a EX-3 XDCAM-EX 3D project in Resolve on a thunderbolt Macbook (2011) and post my results here

David

[David Steiner]

sorry, I meant “non premium debayering”