[Jonny Mcpheeters]

Thanks for this great explanation! I’ll give this a try!

[Jonny Mcpheeters]

Great advice Prathvish! This should save me some time. Going to try this later today!!!!

Jonny McPheeters

[Jonny Mcpheeters]

Hey Mike! Great news!

Here is what I did today with my session to enable me to grade each cut from a common clip independently. I too had an issue with blue X’s when I tried to split the clips in the master timeline. So I tried using the Scene Cut Detector as Rohit Gupta had suggested earlier in this thread. This is a tedious work around, but, perfection is our goal! Right?!!!

1. Right click on the cuts within the TIMELINE that share a common clip you’d like to split. At the bottom of the drop down menu enable the clip info. This will show you the clip name & the in & out points. Write these down or copy them as you will need to reference them in the SCENE CUT DETECTOR.

2. In BROWSE, create a new folder under the root in the media pool. I named mine “Split Clips.” Then if you feel really organized create a subfolder under this and name it “Bus Interior 1” or, of course, whatever relates to your project. If you have a lot of clips to split, you will be happy you put them all in separate subfolders later! Now find your clip in media storage and click on it so it goes to Clip Details. In clip details, right click and send the clip to the Scene Cut Detector.

3. In the SCENE CUT DETECTOR, manually set the ins and outs for your cuts as needed. include handles as you wish. It will be hard to land the green line on anything exact. But, no worries here. After you have manually ADDED you’re marks for all you’re in and out points, take a look to be sure they are all listed in the upper right corner of the screen. Next, click on the Split button, and a few seconds later your new split clips will be in the subfolder you created in the media pool. Before you hit split, there are other options regarding EDL’s, but I have no knowledge at this time to inform to you about this. I was a bit under the gun this morning, flying by the seat of my pants with clients in the room! We’ve all been there! Ha! Now all of your new clips are in the media pool. Whoohoo!!!!

4. To the CONFORM page!!!!! This is how I did it, I could be wrong, but it worked! Click on CREATE DEFAULT. Then Enable “Empty Session.” Name it what you want. Now right click on your new timeline and enable editing. Drag all of your new split clips from the media pool to your new timeline.

5. There you go! In it to win it! Go to your color page if you want to prove it to yourself. The clips are all independent of one another. All the metadata is intact and adjustable. Now we are talking old school 2k+ right here!!! I want each cut to be it’s own island!!!! Every sunset can now have it’s own look!

6. You will see many C’s in your new timeline. You will also see many C’s in your original EDL. Good Times!!! I clicked on every last one of them in my new timeline, and my original EDL. It will make sense to you when you see it, as the upper choice is referring to the old original un-split clip with many thousands of frames. The bottom choice refers to your new clip which will have significantly less frames.

4. The new Split Clips are automatically inserted into your original timeline!!! Now all cuts are independent!!! Feels like I’m working with a roll of neg!!! I sure miss the smell of neg in the morning! Always cool to handle a warm roll of neg!

Nice job daVinci!!!! Way to go! Please make this easier for us! You really need to let people know about this in the manual! This is a really big deal here Black Magic peeps!! The Baselight allows you to adjust the metadata on a cut by cut basis, and it is very clear and simple how to do it. You gotta keep up with the Joneses!!! Take the time to include this kind of info in the manual. Us old film guys have a hard time figuring out new software! But we can sell it to our clients if we understand it. I am really digging the Resolve!!!

Hope this helps you out Mike!!!!

All the Best and many thanks to the folks here on the Cow taking the time to offer great advice!!!
Jonny McPheeters
Libertad Soul

[Jonny Mcpheeters]

Thanks for the advice Rohit!

All the Best,

Jonny

[Jonny Mcpheeters]

Thanks for your reply Peter!

This is a classic scene in a moving bus with dappled light streaming into the windows drastically changing the exposure levels. Of course, we’ve all colored these kind of shots! By right clicking on a clip in the timeline, I can enter and adjust the Red Codec settings and adjust the ISO to recover the highlights, then on the next cut, I need to recover the blacks. Tough to get an even ISO that works for all the cuts. I thought each correction would exist independently from the next, but it is a global adjustment to all cuts from the same clip. I am certainly impressed with the amount of adjustment I am able to do with the files. I just wish I could do it for each cut in the timeline like I am used to doing with negative. Well I suppose we can’t have it all can we?! Ha!

Could there be any way to split the clip on the master timeline on the conform page before I work with it on the Color page in order to eliminate the red boxes? Do you know of a way to skirt the red box that connects cuts from the same file? This is a nice function, but it would be nice if it were an option for the Colorist to turn on and off. It’s a time saver for sure, but then a lot of time is lost having to create versions within the shots that share the same file to match everything perfectly. So it kind of evens out the efficiencies. If you have a good work around for not having to create multiple versions for a cut I’d sure appreciate it! Or am I missing the boat here on the way I think versions work? This is a basic single edl short film. As easy as it gets. I have been creating local versions of the cuts that share the same clip.

All the Best & many thanks for the advice!
Jonny

[Jonny Mcpheeters]

Thanks for your reply Peter! I will give this a shot today!

All the Best,
Jonny

[Jonny Mcpheeters]

Thanks for your reply. When I resize on the output transform it affects all the shots globally and does not allow me to resize each clip separately as I can do on the input transform.
Thanks again for taking the time to think about this!
Jonny