[Glenn Sakatch]

I have used that in the past to add timecode (i think it adds time of day from the actual shoot) to canon files. Unfortunately this has to be done before the edit begins…i’m picking this one up at the end of the process, so that step wasn’t taken. Not sure if you can add proper reel names with the program?

Glenn

[Glenn Sakatch]

have gotten (with help from Rohit)

Offset my media pool by 1 hour (to match my Avid Settings for timecode on import) and then used

“*/%R” as a reel name search string.

This allowed me to do a conflict resolution on my imported edl timeline.

This was a 30 second spot, so not too bad.

In the end it would have been easier to output a dpx sequence at full rez, and split it up in Resolve, but I wanted to know what i would be in for on a longer piece.

Glenn

[Glenn Sakatch]

can’t get that string to work, but I’ll read that part of the manual again, and see if a variation will work.

Part of the problem may be that in Avid, I can’t copy any information into a “comments” column, so the “use comments for reel names” won’t work.

My list is reading the file name properly, but the original canon files don’t have a proper reel name…So yes If i could get Resolve to read the filename from the original files, and relay it to the reel name of the EDL, we may have success. The other option would be to try to edit the meta data on those original files to create proper reel names..any way of doing that?

Glenn

[Glenn Sakatch]

I’m not really sure where the “advanced Matte” settings are?

Glenn

[Glenn Sakatch]

I will upload some files

Glenn

[Glenn Sakatch]

I created a 2k comp in After Effects of black with grain on it, and removed all colour. Then output it as a dpx sequence.

In resolve, i brought it in as a matte.

I was able to get the grain to superimpose over the footage, but found it quite difficult to control the level of grain. Might work in a pinch, but needs more experimenting to get it to be natural.

Still wish there was some sort of transfer mode capability.

Glenn

[Glenn Sakatch]

I fought with this last night…I think we are all doing the same tests at the same time.

Solution was the monitoring was set to size picture. You have to set it to fill screen with crop (or something like that…im not at the box right now)

Flipped that on and the window was where it should be.
Didn’t even notice I wasn’t looking at my whole picture.

Glenn

[Glenn Sakatch]

Something for me to work on tonight…if i can tear myself away from the start of the hockey season.

Glenn

[Glenn Sakatch]

Thanks guys, I’ll try those ideas tonight.

Glenn

[Glenn Sakatch]

we didn’t do any major tweaks to the basic settings.

Are you talking about a difference in the original movie vs a prores 422, or a difference between compressor output and streamclip out put.

There is a difference from the h264 movie, but I assumed it is unpacking something, and giving me the raw file settings upon import. I color corrected my piece in a DS and it looks amazing.

as far as streamclip vs compressor:
We did 1 file on both systems and checked them against each other, and couldn’t see a difference.
your other option is to import the files straight and render your timeline. H264 is a pain to work with though.