Francois Driessen
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Ooo! Interesting. Going to give it a shot!
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Thanks, Eric
Crude but fool-proof. Actually worked quite a lot faster doing the razor work in PP to the flattened render than it took before in doing a similar thing in Resolve timeline.
Weird thing is, however. Even the clean project (with no speed changes or anything other than simple cuts) is creating problems in R10b with the XML it produces. – It opens and links perfectly in EDIT. But the UI is incredibly choked whenever your zoom or scroll the timeline. And Resolve eventually crashes.
Going the Split & Add route via EDL works perfectly, though. Super fast responsiveness in the UI. Back to work! Yiy!
Francois
FireTrigger Inc.
https://firetrigger.com -
You’re describing the story of my life over the last few months.
The XML that is created by PP is totally wonky if speed changes are involved. And even sometimes when no speed-changes are in there at all!
The only way I’ve been able to make things work without committing suicide was to end up creating a clean EDL by razor-blading every cut from the original edit onto a flattened render of the program.
You loose access to raw that way, unfortunately. But by doing your primaries pre the flattened render you should be good to go. Not ideal workflow at all. But at least it’s fool proof.
IMHO PremierePro XMLs are useless for complex edits.
One thing I’ve yet to try is to take the XML into FCPX and exporting the XML from there with the hope that you’ll get a healthy XML… You might want to give that a try…? Let me know what you find?
Francois
FireTrigger Inc.
https://firetrigger.com -
UPDATE:
Using Display GPU for Compute on or off makes no difference on the issue I just explained.
Turns out that it is the XML that I used from PP. I trashed that and went the SPLIT & ADD route with and EDL and now I have super fast response in EDIT. Yiy! Back to work.
Francois
FireTrigger Inc.
https://firetrigger.com -
[David Baud] “I am afraid it is highly depend on the type of project you color grade.”
Totally. Anything other than a conservative style drama seems to be a mind bending exercise. Especially with mixed footage and speed warps.[David Baud] “You need to re-wrap the .MTS file into a Quicktime file. I used Clipwrap which allows you to re-wrap files in a batch.”
Unfortunately I hit a serious wall here:
1. Re-Wrapped clips from the FS700 & FS100 does not work in Resolve for some reason. They show up but I don’t get proper RT playback. (Yes I have two CUDA GPUs + Raid storage – I can handle RT CineDNG 2.5K Raw and more. So that’s not the problem).
2. Transcoding the MTS to ProRes with ClipWrap reads the TC from the MTS file and embeds it in the new MOV. PrP uses 00:00:00 as start code for every MTS clip that is cut. Thus there are SERIOUS TC mismatches between the XML from PrP and the transcoded clips. = crash & burn for me trying to conform the XML to the new media… I’ve contacted Clip Wrap’s guys to see if there’s an option to manually enter TC start / ignore TC. Unfortunately not. And they mentioned that I’m the only one to ever request it so they don’t foresee an update that includes that feature. Sadly… The only solution is to cut the Cross-Coded media from the start. A workflow section that is out of my control. Editor cuts MTS directly to timeline since it saves them a ton of storage space & data wrangling.[David Baud] “your best bet to go from PrP to Resolve is to export your sequence via FCP XML”
Yup. XML is the way to go. Unfortunately if you use the PrP time warp (or some other issue I’ve yet to identify) the XML crashes Resolve. And with the issues of the cross-code & TC mismatch XML sits dead in the water for me now…[David Baud] “PrP Speed/duration on a clip will be honored if you are not exceeding a frame rate limit (I am still figuring this one out!)”
INTERESTING! Keep me posted? I’d really like to get to the bottom of what causes PrP to create XML data that makes Resolve choke.My only feasible solution in the past has been to import XML into a new timeline in Resolve (Ignoring actual media completely) Just to have the cuts on a timeline. Then Add a new Video Track which I place the flattened rendered program in. Skipping from cut to cut with my control surface and using the Blade to cut the new video track where the playhead is. Switch to Local Grades, delete the original XML track on the timeline and there you go.
A crude, but fail-proof solution. – As long as you’re dealing with SHORT PROGRAMS like commercials…
Doing 2000 cuts manually / piece is a bit over the top for me…Any more ideas out there?
Thoughts?Francois
FireTrigger Inc.
https://firetrigger.com -
I hope that solves it… Did you post on Black Magic’s forum too? Sounds like you need a BM tech in on this one…
Really curious how you’re managing 2x Titan’s power demand? What’s your setup?
Just booting the cards to show up in SystemProfile is one thing. Loading the cards with heavy processing is quite another when it comes to power consumption.Francois
FireTrigger Inc.
https://firetrigger.com -
Thanks, S.
I would assume then that 9 and10b use databases in different locations? Can anyone verify their locations pls?Francois
FireTrigger Inc.
https://firetrigger.com -
Why the switch to DNxHD in step 4? Just stay in ProRes4444 10bit from Resolve?
Francois
FireTrigger Inc.
https://firetrigger.com -
Ha. I’m forced to do that anyhow. – It’s all a single flattened media source that is split into separate clips.
Francois
FireTrigger Inc.
https://firetrigger.com -
Yea. Copy & Paste clips onto an empty timeline ended up being the solution.
Thanks!
Francois
FireTrigger Inc.
https://firetrigger.com