[Joseph Owens]

[steve voyk] “Is there a better way?”

The little camera icon?

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

[theo peeters] “If I say yes and try to find the xml on my desktop, I do not find it, nor on another place.”

Its looking for the media, not the XML. You should be able to navigate to your media folder within the Resolve browser. Where did FCPX put it?

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

There is a tutorial for this posted by Juan Salvo a couple of months ago…

a quick search should give it up.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

[Robert Due] “Resolve is reading this file as 24fps. Anyone else come across this?”

Alexis vH mentions some drawbacks of “Handle mixed framerates” in his tutorials. My own suspicion is that there are some bigger blind spots in this media handling strategy. I just finished a series in which almost every episode had a segment that failed to connect due to “extents” mismatch. However, I could hand-conform the offline clips and they always dropped into place frame-for-frame. One clue, maybe, is in the editing. These segments, music videos, were conformed with auxillary timecode, uh, matched to the click track played back to the performers… so it was really fake timecode, based on 48KHz. FCP was okay with that, but there are things that it is that Resolve ain’t. Full Stop. My guess is that there wasn’t really any time code associated with the exported clips at all, but a default synthetic frame count that simply masqueraded through the media manage and picked up the attributes of the sequence.
Bzzzzt. Offline.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

[Dan Moran] “As long as you are happy with the picture on the screen then don’t worry about anything else”

If only that was true…

You probably mean, “as long as you are happy with the picture on the characterized and calibrated 709 screen…”?

Otherwise, clients… feel free to point at the sRGB preview in the UI and say “I want it to look like that…”

But underlying all this is the total anarchy and confusion that desktop video publishing has wrought in the name of democracy when any manufacturer feels utterly free to defy SMPTE, CCIR, et al., and persons unfamiliar with the environment then run around in a panic thinking, I gotta have a LUT, I gotta have a colorspace, I gotta have a screen calibrator that is meant for another industry, “but it says it does what I want” … errrr, but it doesn’t, and so it goes.

But in confusion lies opportunity… like, say… Egypt. or Syria… or, quite a list, actually. Mali, anyone?

jPO

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

It would be greyed out in the Project tab, but should be available in the Conform page….???

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

….Happier than a colorist with a dedicated Resolve control surface….”

😉 jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

Sort of the way the Chromakeyer in FCP works.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

H264. Streaming, yes. Broadcast, no.

Uploading 100GB would probably take longer than FedEx shipping. Best I’ve been able to achieve is about 1GB/hour. Hm. 4+ days. FedEx next day is usually about $75, $80…

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

[Joseph Mastantuono] “Anyone else find this super annoying?”

Somewhat annoying, since I tend to have an old-school “Primary balance, Secondary tweak” approach, and 99% of my hue nudges are in flesh tone to take out spills.

You’d think the spectral arrangement would be almost arbitrary, and I have to wonder if there is some other math beyond the (Western philosophy) left-to-right ROYGBIV display?

One of the precepts of NTSC colour processing (YIQ) is fundamental insensitivity to hue changes in the green/magenta segments of the spectrum, whereas around fleshtone/amber is hyper-critical.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.