[Joseph Owens]

This might be a Betabug in the XML the way a “timeline” is interpreted between the two applications. There is a hierarchical difference, because Resolve still has layers the way FCPX does not.

One of the dangers of moving into beta software before it has been positioned as a Release…

jPo, CSI

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

[Joseph Owens]

[Neal Boyle] “can I just import all the camera footage (HD and 4k) into one Resolve project with the Master Project Settings set to HD?”

Yes you can. There are settings in Resolve that will respond to different resolution imports in different ways; re-scale, crop, fit, and so on. The default is to re-size to current resolution.

jPo, CSI

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

[Joseph Owens]

[Neil Sadwelkar] “Unless there is some way to do ACEScg in DVR 12.5.x”

How would this be a concern? If there is a difference in export (colorspace transform fidelity) then Is ACES really a unifying environment? My working understanding is that there is only a slight gamut difference, and cct is a “toe” response modification.

jPo, CSI

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

[Joseph Owens]

[Jake Diamond] “1) What version of Resolve should I use for this – does it matter? I’m on a 2015 Imac Retina, running Avid 8.4.4

2) When you say create a media bin and populate it with source clips, is that just dragging in the original media from the folder at the desktop level? Or just File>Import”

1. Whatever version you intend to export to… but otherwise the later versions have all the “improvements and general stability updates” that will help with a successful export.

2. Import the media used in the project, that is what it means, drag or Import. Then Resolve (successfully linked) will be able to manage all the paths that AMA is supposed to take into account, but sometimes loses. One large difference between MacOS and PC is the order of logical drives. PC always assigns a letter ( /:C, /:D, /:E &c.) that Mac never does, os one aberrtion of this is that your paths will vary depending on the order in which your drives are mounted.

I think Jake means “Boolean” which is a family of logical mathematics, operators including: And, Or, Nand, Nor…

jPo, CSI

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

[Joseph Owens]

[Brent Marginet] “Now you can Consolidate all to the Media from here and send that project to the Colourist.”

This is getting to be more and more accepted as a hand-off. Create a drp in a compatible version of Resolve, create a Media Bin and populate it with your source clips — your colorist should be very happy with this arrangement. I’ve been doing this for a couple of years now, and it is great that the exporters get to troubleshoot the timeline before I get it.

Think about cutting up your feature into 4 or 5 “reels” or separate timelines, so that the source filesize overhead doesn’t strain the Media Management feature in Resolve, which can be an “all or nothing” commitment. Some codecs can be trimmed, with handles, to make the source database more efficient… XAVC is not one of them, but R3D is, for example.

jPo, CSI

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

[Joseph Owens]

[James Jay] “they all showed them with the washed out look.”

Have you attempted to round trip a known calibration file like colour bars?

Was your original source material flagged as full-range RGB?

jPo, CSI

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

[Joseph Owens]

To answer the moot question…

“What power does Resolve need?” All you can afford. The recommended configuration keeps moving up in step with that other axiom of nature/vacuum — the requirement will expand to over-demand the availability.

jPo, CSI

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

[Joseph Owens]

[Marc Wielage] “I have a different method: I have one dummy “template” project for 23.976fps, and one for 24.00fps, and one for 29.97fps. In each, I create a bin structure, set all video parameters, tweak the Favorite transitions and so on, set colorspace, adjust panel settings, AutoSave turns on, and so on.”

A little bit similar to how we used to work in DavSys hardware.

I used to have default configurations for gauge, fps, and so on… 16mm, s16mm, 35, super35, 4-perf, 3-perf…

Resolve 14 beta doesn’t yet support Users, it seems.. but I’m thinking if I wanted a default config for different frame rates and so on… I’d create a 23.98 User, a 29.97 User… and no thinking after that. Or if you wanted to go alphabet soup, then knock yourself out with ACES, 709, HD, UHD, blah, blah, blah.

jPo, CSI

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

[Joseph Owens]

[Don Cobble] “Is the a way to keep my audio from going to that monitor via HDMI in DR 12.5 Studio? So that it goes to line out to my Mixer?”

“Use System Audio Output”… discussed in manual under Project Settings and Preferences Video I/O and GPU.

jPo, CSI

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

[Joseph Owens]

Have you tried 12G options, dual / quad link SDI?

jPo, CSI

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