[John Tissavary]

Like Brandon mentioned, the track is most likely locked. You’re either in the master timeline or you’ve imported an XML, which defaults all tracks to locked. If in master timeline you’ll need to make a new timeline and work from that, as masters cannot be altered. If you’re locked due to XML, just click the little lock icon at the left side of the timeline track to toggle on/off.

JT

John Tissavary | colorist | owner
The Post Collective

[John Tissavary]

stablize first, then add / keyframe input sizing to suit your needs.

JT

John Tissavary | colorist | owner
The Post Collective

[John Tissavary]

mouse wheel for zoom, middle mouse button for pan / tilt. Yes, you’ll need a 3 button mouse with wheel for resolve.

John Tissavary | colorist | owner
The Post Collective

[John Tissavary]

Right click over directory you’d like to refresh > refresh

John Tissavary | colorist | owner
The Post Collective

[John Tissavary]

+1

John Tissavary | colorist | owner
The Post Collective

[John Tissavary]

Unless I’m missing something, if you’re just adding items in FCP for an XML output, then resolution in FCP is not important. You can output 5k from Resolve for smoke, output Prores for FCP, generate XML from FCP and conform back to 5k output from Resolve in Smoke.

BTW, it’s unusual to output 5k files from Resolve to bring into Smoke. It’s generally better to work at delivery resolution, unless there are very specific reasons not to (i.e. severe zooms with in a Smoke-based client supervised session). I’ve tried working with 4k images in Flame, and let’s just say I’d rather never ever have to do that again. Not sure if Smoke is better, but I don’t think so.

John Tissavary | colorist | owner
The Post Collective

[John Tissavary]

Works just fine… if you used ‘scale to frame size’, NOT motion scaling, to resize the 4k R3D files on your 1080 timeline.

This is a very common mistake with Pr users, I get a lot of Pr XMLs with R3D media that was scaled using transforms instead of ‘scale to frame size’ which makes transforms useless.

You’ll have to re-create your cut with scale to frame size and then re-export an XML, or re-create transforms manually in Resolve.

John Tissavary | colorist | owner
The Post Collective

[John Tissavary]

Not having any issues here – just tried ‘start dymanic’ > ‘mark’ as a dynamic dissolve, worked fine. Also did auto keyframe with lift , gamma, gain adjustments, worked fine. Is there a specific sequence of steps I can try to duplicate this problem?

JT

John Tissavary | colorist | owner
The Post Collective

[John Tissavary]

Nope. I left out a crucial step in this absurdly complex workflow – colortrace. You need to save a version to colortrace from. It’s a PITA, but it’s the only way I know of to preserve versions.

John Tissavary | colorist | owner
The Post Collective

[John Tissavary]

Welcome to the headache that is handles (and copying grades) in Resolve.

One way to get around this is to copy the grades you wish to actively use to ‘local’, then use local grades in your handles. If you want to then copy those local grades back to ‘remote’ so they’re available to the master timeline (for cut-downs, etc…) then that’s possible too.

Altogether an inelegant, but effective workflow.

I would prefer if handles could just be toggled on and off in the same timeline, for tracking, etc…

JT

John Tissavary | colorist | owner
The Post Collective