[Glenn Sakatch]

looks like the wrong tc track was used when the original dailies were created. I used to have this issue with R3d’s all the time.

I honestly can’t remember is resolve can call up both timecodes or not. Check your camera raw tc settings and see if you can find the timecode that was used.

How long is your show? You may be looking at manually swapping out all the shots.

Glenn

[Glenn Sakatch]

to export a project, you just right click on it in the home page and select export. Nothing to it. (you can also do it from the file page inside the project)

The projects themselves are simply saved on your hard drive, but I’m honestly not sure if you can just move it around to another version of the program and have it open…but again, exporting is too simple to not use.

As for the optimized media, you don’t even need to flip a switch. Work with the optimized media, and when you are ready, go to the delivery page and output. Resolve will use the original media, unless you specifically ask it to “use optimized media” on export.

Glenn

[Glenn Sakatch]

[Tommy David] “My main question I’m left with now is how do I save my projects to external hard drives? It seems to give me no option to start a new project on an external hard drive. I run a 512 SSD with 300GB free, it will go out quick if I can’t it to an external drive!”

Not sure what your issue is here. Your actual project on Resolve is not very large at all.(I currently have 32 on my laptop that are taking up 2 gigs of space total) The media you are reading from will stay on the drive it originates with. (like an external drive)

If you want to have your projects saved to an external drive instead, I would assume you can set your database to be on an external drive, but I’ve never done that…you may need to set that up when you install resolve. It is possible the local database has to be on the same drive as the program. The manual can probably help here.

If you want to take a project with you, you can simply export it and take it to an external drive.

If your caches are what is killing your storage, then set them up to be on an external drive. As it says on the media storage page the first drive listed in your media list is also used for cache function and stills.

If you want to add a sharpen filter to your entire timeline you would add it as a track node, not a clip node.

If you want all clips from the same take to color with the same settings, you can set that up your project to link your clips together. This used to be the default for Resolve, but most found it more of a pain, as an adjustment to one clip, resulted in adjustments to all clips…whether you wanted that or not. Blackmagic has since made it “off” by default, rather than on. In the preferences window under color, you should see a check box next to “use local version for new clips in the timeline” Turn this off before you import a timeline, and you should get linked clips. You still have an option to unlink any particular clip after the fact, to take it out of this option.

I am not commenting much on using Resolve as an editor as well, as I don’t think it is any where near that stage…despite what the marketing will try to tell you.

I cut in Avid and color in Resolve. The round trip function works extremely well. I would assume/hope it does the same from FCPX and Premiere, but I have no experience in that path. If you find an editing program that you love, I say use it, which is what I do with Avid. but don’t abandon a program because it won’t do absolutely everything perfectly…non of them do.

I think people worry too much about a program that doesn’t do it all. Resolve can be free, and is a very good color program, so why not use it. You own FCPX and love it, so why not use it. Struggling with a programs edit functions, because you love it’s color functions (or vice versa) makes no sense at all to me.
All these programs have become so inexpensive in comparison to 5 years ago, that it isn’t worth the hassle.

Yes Resolve does project management differently than a lot of (if not most) other programs, but it works very well. Exporting a project takes all of 5 secs when you are done, and really in the end, the location of your project (unless you are jumping between suites) shouldn’t really matter, as long as the program knows where it is. If you are jumping between suites, then you may want to look into the other database options, that allow you to access projects in a shared environment.

Glenn

[Glenn Sakatch]

have you told your card to switch from sdi out to hdmi out?
Seems like a silly question, but there are output settings on the Desktop video page you need to look at.

Was the card doing a conversion in the previous setup, that it isn’t doing now? 1080 to 720, or 24 to 30?

Glenn

[Glenn Sakatch]

That’s a lot of questions for 1 post 🙂

Log and Primary are two different tools at your disposal. They essentially work independent of each other. You can tweak the primarys, and then switch over to log and do a different type of adjustment, as Log allows you to narrow your range for the adjustment. If you were to reset one of these tabs, the other would be un-affected. Take a look at the manual, it is in there.

I would guess most people stick to primaries. I personally jump to log when I’m trying to work on that highlight that is still too hot.

As for you adjustment layer, yes you can add a color adjustment to an entire track. (again, you need to go through the manual), but they way you are describing your color workflow, you are making it sound like one color correction will work for your entire sequence of shots. That isn’t really how most of us would work. Each shot gets its own adjustment. If you are not happy with the adjustment, I see no reason for you to have to reset the project and start again.

Either reset the node, or adjust the node, or make a new version and color it a different way.

If at the end of your session, you play down your show, and decide you would like to bring the blacks down a tad across the board, then maybe a track adjustment would be the way to go.

Personally I don’t like them, as I usually forget that I put one there, and then I can’t figure out why the picture isn’t reacting the way I think it should.

If you wanted to add grain as a final pass, that might be another good use of a track adjustment.

You simply need to spend some time with some of the beginner tutorials. There are plenty out there, some free, some for small amount of cash, but all very useful, and as I said earlier, look though the manual. It might not be fun to read a manual, but the information is there.

Glenn

[Glenn Sakatch]

Rather than watch the tutorials you have watched, i’ll ask a question or two.

Have you imported your original media into Resolve, or are you trying to get Resolve to find it on its own?

When you import your xml, did you tell resolve to automatically bring in the media?

I typically bring in the media before I import the xml (for me an aaf)

Then import the aaf and deslect the box to automatically import media.

Resolve will then ask you where the media is, and you can point it to the bin where you just imported your raw clips.

If this doesn’t work, it might point to an issue with the original dailies not having proper reel information attached.

When you bring in your xml, do the clips show a proper reel id that they are looking for?

Glenn

[Glenn Sakatch]

It would be possible with a macro setup, but not natively.

I have a similar setup built into my Avid Control touchscreens and my old G13 keypad… adding audio to broll, once my picture is locked.

1 key punch to select Video track 1, set an in and out point, go to in point, match frame turn all tracks off, turn on track 1 and 2 audio, switch to timeline side, turn all tracks off, turn on tracks 3 and 4 audio, perform edit.

I can jump through a fairly large timeline very quickly and swap out all the broll audio by simply placing my blue timeline marker on a clip and hitting the button.

Glenn

[Glenn Sakatch]

Because your drive names can’t match, going from Mac to Win, you will have the tougher path to a relink.

If you have the original link bins, even though they are offline, you can simply reactivate those links by ALT dragging from your explorer into those bins. (Card 1 to card 1 etc) This will refresh your original links with the new path.

If you don’t have the original link bins, or there are waaaaaay too many of them to spend the time doing 1 bin at a time, you can simply make a new bin called AMA links new, and follow the same procedure.

go card by card, or folder by folder, depending on the type of media it is, and alt drag from your explorer window to your new bin. You have to release the mouse button before the alt button, or it will start importing instead of linking…also you will see the icon change to a curved arrow I think when it is about to link.

I’ve done what you are about to do on a project that had 100 Tbs of raw 4K footage from a 8 month shoot…it wasn’t fun, and I had to end up creating a couple of new ama link bins, just because they were getting too big, and taking forever to save…but it will work.

From there open all your new ama link bins, select all the clips in those bins, and right click on your sequence and relink using the “reling to selected clips in all open selected bins. You may have to adjust the tape id, source id settings, but it should work.

You may also find that once you bring in new ama links, that the old ones start working again.

Glenn

[Glenn Sakatch]

If you start needing metadata for what the lens was set to and iso exposure etc for 3d tracking and compositing information to help figure out lens distortion, and other things, then you might be able to find that information in those files…depends on the camera you used.

For what you are doing, I don’t think they will serve any purpose.

As far as matching out the shots, so scenes look similar, that is where learning how to color correct comes in. As i said before, you may need to start learning some color software.

Glenn

[Glenn Sakatch]

Even if i put the control panel above, closer to the monitor, and this closer to me with the panel in between, it might be a nice little space saver. Every little bit helps.

Might have to put this idea into the “folder” between my ears.

Thanks

Glenn