[Derek Nickell]

Thanks. I think that is exactly what I described I was doing…

I’m trying to turn off the “snapped” values that keep the position from moving until you slide your mouse too far. I would like the value to reflect the distance the mouse initially moves, and not when the program decides I have moved the mouse far enough to register a response.

Don’t know what else to call that…

—
Derek Nickell | Editor, VFX, Colorist
Blue Brownie Creative, Portland, OR http://www.bluebrownie.com O:503.922.2117

[Derek Nickell]

Thanks for the reply Dave,

The issue is that the actual keyframe leveling on random individual clips has either been blown away completely or the audio levels are turned all the way down.

By doing this, aren’t I just re-rendering the same, incorrect levels?

—
Derek Nickell | Editor, VFX, Colorist
Blue Brownie Creative, Portland, OR http://www.bluebrownie.com O:503.922.2117

[Derek Nickell]

I’m finishing a feature right now shot on the C300. No issues with the import into Resolve.

—
Derek Nickell | Editor, VFX, Colorist
Blue Brownie Creative, Portland, OR http://www.bluebrownie.com O:503.922.2117

[Derek Nickell]

How far off is the TC?

—
Derek Nickell | Editor, VFX, Colorist
Blue Brownie Creative, Portland, OR http://www.bluebrownie.com O:503.922.2117

[Derek Nickell]

You will have to mask some of it if you don’t want to change the brightness of the entire frame.

If the shot isn’t moving, add an adjustment layer to the seq, mask off loosely the part you want to make brighter and feather the mask. Add a curves adjustment to the adjustment layer and peak the highlights only setting keyframes for the rest of the curve.

—
Derek Nickell | OMPA, VFT | Editor, VFX, Colorist
Blue Brownie Post Production, Portland, OR O:503.922.2117

[Derek Nickell]

Ok, so this is what I did, and it might work for what I need.

I ran off a EDL of my timeline.
Opened Resolve, new project
Imported all of the R3D folders into the media pool
Imported the EDL.

Popped up a timeline linked to the R3D files, some errors, but nothing you can’t fix. I’ll update status as I progress.

Thanks again for the cumulative brain power Michael.

—
Derek Nickell | OMPA, VFT | Editor, VFX, Colorist
Blue Brownie Post Production, Portland, OR O:503.922.2117

[Derek Nickell]

The ‘tape’ column reads{name}_day01.XX…_day02.XX for all of the media. And reveal file give the actual clip name + _A1 for audio, etc…

I have all of the columns on now. Under the UNC (?) column reads Volumes/{Project}/DNX36/Day03/AXXX_CXXX_XXXXX.mxf

I don’t have that folder on the drives that I received though. Kinda looks like the AE that started this ran off MXF’s into separate dir’s for the off/online media.

Could I use an EDL through DaVinci to consolidate the media, color, then run off 220 MXF’s and relink? This project only needs to get to 1080, doesn’t need to go all the way back to 4K.

—
Derek Nickell | OMPA, VFT | Editor, VFX, Colorist
Blue Brownie Post Production, Portland, OR O:503.922.2117

[Derek Nickell]

Must be a software update coming soon from BMD.

—
Derek Nickell | OMPA, VFT | Editor, VFX, Colorist
Blue Brownie Post Production, Portland, OR O:503.922.2117

[Derek Nickell]

The MXF files are all named A045_C003_XXXX.MXF, A045_C003_XXXX_A1.MXF, from the original files.

—
Derek Nickell | OMPA, VFT | Editor, VFX, Colorist
Blue Brownie Post Production, Portland, OR O:503.922.2117

[Derek Nickell]

I’ll dupe a series and see if changing the structure works.

Thanks for the help Michael.

—
Derek Nickell | OMPA, VFT | Editor, VFX, Colorist
Blue Brownie Post Production, Portland, OR O:503.922.2117