[Joseph Owens]

In Browse, you should be able to right-click on a clip and re-select the PAR.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

You may also be able to make use of manual reel number manipulation:

In Browse:

Set Reel Number
Just as we selected on the configuration page, project tab, conform timeline section, you can select or
change the way Resolve defines the clip reel number in the media pool. There is one additional option
here, to have a user defined reel number, which is quite helpful when the automatic conforming of clips
is not possible or a reel name in the file is incorrect.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

When you import the XML, do you choose to “ignore reels”?

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

If you’re trying to deBayer 4K or 4.5K at full resolution, your Quadro4000 is nowhere near the horsepower required. I have a similar setup, and even 1920×1080 DNxHD with any Noise Reduction leaves the system gasping for air. I don’t believe this affects render quality, but “Play” preview is not likely an option with a single GPU (especially the Q4000, which is possibly the slowest option you can buy) and no RedRocket.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

I’m about halfway through a drama series using AAF flow.

Version 8.1.1 has been a significant improvement for the AAF round trip. However, I am stuck with the situation of having to constantly revise the Resolve timeline with incoming VFX, so I’ve been exporting the whole show in Target mode most of the time. Whenever I get promo materials and short assemblies, the AAF works virtually seamlessly now. I’ve been round tripping the “next week on…” trailers and EPKs between the offline Media Composer 5.5, my version 6 to send to online, and Resolve 8.1.1.

I have been exporting ProRes, DNxHD(MXF), dpx, tiffs, and so on to the external VFX house for complex platework, and to myself to compose rotoshape mattes in both SHAKE and MochaPro, which work just fine coming back into Resolve.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

So then it is not using the UI GPU for color remapping and remains a “single GPU” processor.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

No. This is forbidden. Just like COLOR, you must unify the frame rate within the project or treat the differing framerate streams as separate projects. You will not be able to track or keyframe clips of differing frame rates, and round trip in/out points will be corrupted, just as they are in Apple FCP/COLOR flow.

Guessing that Resolve would do a pullup is a remarkable leap of faith. It is possible to display and play out 23.98 sequences at 2997 with added 2/3 cadence, but these options must be specifically configured.

If you don’t believe me, read the “Conform” chapter in the manual. You will find the following advice:

Important: When preparing edited sequences for DaVinci Resolve import, do not use media with mixed
frame rates. Resolve treats all media as if it were at the frame rate of the project, so importing a mixed
frame rate sequence may produce unexpected results.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

Is your 2008 MacPro on the officially supported list? Seems it may more than likely be a fimware (BIOS-like) issue if it doesn’t find OpenCL.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

GPU?

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[Margus Voll] “With dedicated secondary card you get noticable speed pump.

Also in the app start the number of gpus is also shown.”

Since this question is specifically titled “Resolve Lite”, this response is moot. Lite only uses one GPU, and is specifically written to run with systems that only have one GPU. I’m going to assume that your second GPU is totally ignored and all processing is being done concurrently on the User Interface and that all others are idling in the bg making your utilities bill larger for no reason.

jPo

You mean “Old Ben”? Ben Kenobi?