[Eric Johnson]

I’m not 100% on this, but I believe that the changes are made in Resolve, they are not “technically” editable as you would imagine coming from FCP.

I’m pretty sure that though the changes are visible in the Resolve timeline, they are not represented in the format tab unless the changes are actually made in Resolve.

This is similar to any Opacity adjustments made in FCP, they are visible in Resolve, but they can not be edited in Resolve.

Is that what you meant?

Please anyone correct me if I am wrong, It’s been some time since I’ve done this.

[Eric Johnson]

This is how I do what it sounds like you’re talking about

Node 1) Primary
Node 2) Empty (unless I need to add something after the “blending”)
Node 3) Monochrome RGB mixer fed from 1

Layer node (2 goes into the top, 3 into 2nd input)

In the Key tab adjust the Output gain towards “0”. The closer to “0” you get, the more transparent Node 3 will get.

I do a version of this for a Skip Bleach look…. But I tend adjust the RGB mixer to change the Monochrome contrast.

[Eric Johnson]

I transcoded a mixed format/framerate timeline to 220x. From that transcoded timeline I created the AAF.

Also, it is 1080i 59.94, out of Avid, so as far as I can manipulate the Resolve it is a 30fps EDL/AAF, 29.97 render. Though it appears Resolve is introducing some strobing, which is another issue altogether.

[Eric Johnson]

I’ve been having a similar problem. Except everything links up in the “Master Session”, but in the AAF Timeline 80-90% of the timeline is “offline” due to “Timecode extents”… I can’t say for certain, but I am 85% sure that I pointed to the “MXF” directory and not the “Consolidated” directory.

Thoughts?

This is from MC6 not MC5.5, though I don’t think that’s the issue.

[Eric Johnson]

The only big issue could be any shapes…. Aren’t those based on the timeline size that they were created in?

[Eric Johnson]

Ola, the Pelican 1700 fits the JL Cooper. I bought one for mine not to long ago and it fits great. Only downside is that particular case doesn’t spot the the pluck’n peel foam so you have to cut it yourself. Otherwise it’s a great fit.

[Eric Johnson]

Regardless of the power of that portion of QT, not arguing that it can be a life saver, how much work could have been done on your DaVinci by exporting local files, the DaVinci having access to the media or the DaVinci machine creating it’s own local files from the Refs while you’ve been telling us how great the “Tech” is, which I believe most agree with.

Ref’s can save a ton of space, but not really because the renders need to be somewhere…. either in the Ref itself or in your render folder. Ref’s can, but not always, save a bunch of time. But right now, it appears that you are fighting an uphill battle with something that doesn’t do what you want it to do.

It’s also worth noting that, as a far as I’ve noticed, no one from BMD has chimed in here….

Sorry to be that guy…

[Eric Johnson]

[John Heagy] “We create files in one place and publish them out as ref movies keeping the originals safe and sound”

I know this is not the answer you’re looking for, but If I understand the above sentence correctly, can’t you just give your DaVinci access to the location where your originals are?

And if not that specifically, why not give the station Read access to that volume so the files can be transferred locally to the DaVinci?

I understand that you have a system in place, but wanting the software to do something that it doesn’t want to do isn’t going to get your files color corrected….

[Eric Johnson]

The “Aux” thought was along the lines of what you said about FCP maintaining a new TC situation… I thought maybe it was something that would be visible in the particular wind and could be corrected there…

Did you media manage the timeline after collapsing the multiclips? When you media manage there is a checkbox for maintaining or discarding multiclip relationships… I would try that next. If you media manage to an “offline project” or “use existing”, don’t delete unused media, Files names based on existing file names… and under Project, there is a check box for “duplicate selected items…” and “Include nonactive multiclip angles”. The 1st will depend on whether you’re doing “offline” or “existing” the 2nd uncheck.

I’ve never used the “use existing” but I imagine it will just create a new project w/o multiclip info… If you do the “offline” you will have to reconnect, but that should be super straight forward, as long as you don’t “delete unused media”, etc…

Hope that helps… sorry if it was long winded…

[Eric Johnson]

Is it something like and “aux” timecode that you could modify or turn off using the Modify>Timecode command?

Apologies if you’ve tried this, or anything else I may end up suggesting, but I’ve not run across or read about this issue…