[Joseph Owens]

[Ingo Schulten] ” Is that true?”

A soft clip is not the same as adding a secondary window or HSL qualifier, so in that sense your statement is not true, because some operations can be included in the same node, like curve adjustments, which are still conceptually part of a “Primary” correction.

It is still good practice to compartmentalize your operations so you can stay organized and not go clicking and scrubbing around looking for what is causing something to happen that you don’t want. Patrick’s observation to think about the nodes as “Rooms” if you’re coming from COLOR, is a reasonable interpretation… but don’t expect the same behaviours. There is no “inside AND outside” grade in Resolve. You need two nodes minimum to do that. So if you intend to survive with the Lite version, you are going to have to develop some extreme craftiness. Really, you can do a Primary…. and that’s pretty much “it”.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[Andrew Sableton] “Thunderbolt PCI e expansion”

The early word that we were getting back from manufacturers is not to expect PCIe/ Thunderbolt implementation or interface as T-Bolt is a motherboard sandwich-layer process and doesn’t lend itself at all to this concept.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[michael stirling] “I added a render of the offline to the media pool “

There is a specific methodology for doing this “Making Comparisons in Offline / Timeline” mode, and its covered in the Resolve pdf.

You must add your flattened guide-cut specifically as an “offline” clip in Conform, and “call” it in Timeline Management (its a right-click kind of thing. A second playhead is added and ganged to the Record-mode (or program edit) so you can step through in the way you are attempting. Offsets are available for trimming sync.
You can two-up or wipe or mix, or whatever.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

And turn up the sharpness a bit.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[Eric Chase] “2) If you have 23.98frame footage in a 2997 frame sequence, the import doesn’t sync

3) Footage that should not have any problems, just don’t import. The edits come in blank. “

Can’t say I have encountered fault type #1. Fault Type #2 is not an XML issue, it is intrinsic to Resolve that the source media framerate absolutely must match the project framebase.

I have seen odd issues with Fault type #3, and so far haven’t pinpointed a common disparity.
With COLOR, these clips were usually just one criteria short of being perfectly compatible, and navigating to it directly in the Browser would usually result in COLOR telling you exactly what was wrong with it — some odd resolution or anything among about a couple of dozen parameters.

I recently filtered out a bunch of 30fps clips in a 29.97 project that the application couldn’t “find”.

jPo

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[Ramesh Jai] “What are the settings to use in Resolve (1080i? 1080p? 1080i25, 720P50?) “

Resolve will only operate in the native framerate and resolution of your source media. Since you want to stay in HD, edit your RED footage in HD at 25fps, and after grading, send it back to FCP in its native resolution and create your SD materials from the FCP timelines and leave Resolve out of the cross-conversion process.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[Robert Houllahan] “Supposedly even the full version runs OK on the Thunderbolt MBP and iMac computers…”

I expect with the same caveats that said computers comply with Blackmagic’s recommended configuration. There will always be that set of gamers that fully expect all software to be generic and will run on anything, with the same performance, and when it doesn’t, fill the blogwaves with what a piece of cr@p the software is.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

That was always a job for…. Luminance soft clip, as far back as Renaissance.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

KInd of a similar sitch when COLOR was SiliconColor Final Touch and it was dongle controlled. Lots of broken sticks so they really advised that it should be installed well out of harm’s way. Not in the keyboard, not in the front of the MacPro or PowerMac in those days.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[Filip Kubiš] “Is it possible to import metadata from Apple Color to DaVinci?”

You’re hoping for the fabled “CDL” exchange, and although it sort of exists, all its good for is Primaries. The other issue is that different systems apply their color remapping algorithms differently, so its almost worthless. Everybody does their HSL, vignetting, windowing, and everything else so differently its fish on a bicycle.

jPo

You mean “Old Ben”? Ben Kenobi?