[Glenn Sakatch]

David, if you are new to motion, i would suggest you start slow. It isn’t a difficult effect, but as you are learning, try building the most basic split screen you can first. Don’t worry that it isn’t what you want your final effect to look like, just get your content, both video and supporting text/graphics in order.

From there start playing with different mask shapes to see how they can interact with each other.

Sometimes diving into the final look at the start will just confuse or frustrate new users.

Glenn

[Glenn Sakatch]

Any time i work with this footage, i try to get it away from the original file as soon as possible. It becomes pretty heavy lifting, pretty quickly for the box. Trying to play down a timeline of any significant length can be a challenge trying to keep audio and video in sync.

If you are doing an online somewhere else, than a lower Dnx is fine, but your box can handle it at 180.

If you switch to FCP, i would suggest converting the original to prores 422 and working in that as well. Either format will work for your final online version, and won’t put too much strain on your box.

I usually use mpeg stream clip for my conversions in final cut pro. They go quite fast, and you can batch them using multiple processors for an added speed boost.

Either way, don’t work in H264.

Glenn

[Glenn Sakatch]

I use blending modes all the time in Avid DS- on one source shot.

I create homemade Bleach looks with a regular version, a black and white version and a color version of a single shot, all blending together for a beautiful bleach look that you have almost total control over.

Glenn

[Glenn Sakatch]

where do you add these so they show up in your list? I’m having trouble figuring out where resolve Mac is hiding some of its files.

(found it)

Glenn

[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