Joseph Owens
16
COW Coins
16
DaVinci Coins
Forum Replies Created
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If the Resolve timeline speed maps are correct, and you are seeing the correct sync, timing, and so on…
Probably re-creating them in FCP7 on a round trip is not the only approach, and you might find that if you were to render a single clip of the music video, you would get what you want. If you have a working-ish round trip back to FCP already, but looking for a way just to fix those 30 or so re-maps that FCP doesn’t like, then it would be way easier to re-conform those clips from the exported “whole-baked” movie than it would be to troubleshoot them individually… mainly because the frame-to-frame correspondence is never actually going to be identical. You may or may not get a better result from Resolve depending on the blending/nearest/Optical Flow you choose over what FCP is offering, which is “blend.”
Export the whole timeline, import to FCP7. park it on a higher layer, get out your razor tool and play some Tetris with it.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Leonard Levy] “take a scene shot in UHD , punch in on it and export that to HD”
Pull it onto an appropriate resolution timeline… DCI, UHD… might be better to match the settings to the media, although you could simply create a 1080 timeline. Look at your project settings to make sure you aren’t double scaling it on import… use the transform settings in the edit tab to establish your framing, pick the HD output and codec of your choice in Deliver and.. submit Batch.. Render.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Robert Withers] “You would have to do some deep searching to find that Pr CC versions are not backward-compatible and are specific to Mac OS versions -“
Actually I get clobbered with this every time I bring a client project into the system. Either I am a version ahead of them or they are a couple behind me. But it is inevitable that I will get the “newer/older” version warning and either the project gets pulled forward, or I can’t open it until I update. One or the other. Every time.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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This is probably the gold standard, considering its author relationship to the manual:
https://www.rippletraining.com/products/davinci-resolve/davinci-resolve-12-5-new-features/
But there are a lot of views and tutorials available, I got 15,200 hits with “editing features Resolve”
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Robert Withers] ” Info I can’t find through the Black Magic support or forums (even after reading the sections of the manual about setup):”
Under “Support” in the Black Magic website, there is a configuration guide available as a pdf — latest is newMacPro-centric, but there is an older September2013 document describing hardware implementation for the Mac Pro 5,1 and slightly earlier.
It is wiser to go with the later versions — projects are somewhat incompatible between releases and assuming that earlier Resolves are not as sophisticated in incorrect. The process is still exactly the same, except more. (“Murray Walker”)
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Reynold Dodson] “Does anybody know if Resolve is capable of inserting metadata into the files that it renders out? “
Doesn’t seem to be part of the Delivery page.
What Resolve offers is an “Import/Export” protocol that generates a .csv file of your Media Pool compatible with “any” spreadsheet.
Search the Manual for [Importing and Exporting … metadata].Some kinds of metadata will be useless to pass on if you are rendering new media. Camera settings will not apply, the date of creation will be the day you rendered the file… my guess is that the intended workflow is to re-link back to the camera original and there it is.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Ricardo Marty] “Do I install over 12.5 ? or do I uninstall and install the new update?”
HIstorically, the most rigorous approach is:
1. Backup your project database.
2. Make sure your project database has been backed up.
3. Maybe export some of your more important projects as drps
4. Estimate how difficult it would be to recover projects if for some reason the update made some of your projects inaccessible (in the knowledge that maybe you might be able to roll back to the previous version, if the database was backed up and there are exported archive versions)
5. Uninstall the current version and install the update.
6. Reload some existing projects and see if they open and are stable — ie., don’t crash after five minutes or a scrub through the timeline and see if the application exits to the desktop.
7. Try this all out on a secondary system that has no critical/ time sensitive projects on it.
Enjoy the improvements!
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Rafael Tasios] “I found a Lacie external ssd thunderbolt 256GB, that has speed 340mb/s “
If you are working in HD, and maybe don’t expect utterly fluid performance you should be fine. SSD drives are improving all the time as far as data transfer rates are concerned. BlackMagic warned early on that some specifications with SSD were slightly misleading as their bitrate capacity was sometimes inflated by concentrating on their “flash” bit rate, rather than “sustained”, the latter being more important for us. Earlier SSDs relied on some form of compression to meet spec, which lead to some operational bottlenecks. Perhaps that is a thing of the past, its not a day-to-day concern of mine.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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Well, to do a wipe, all the layers must exist, so that can be done in almost any NLE, even Resolve, by cloning your example material to as many layers as there are nodes (perhaps) and then eliminating/shutting off the nodes in the various layers that you want to illustrate… going back from your full final grade to the uncorrected original.
There is another approach, and that is to use a “butterfly” split, so the same clip, wiped down the middle and flipped, is original on one and full grade on the other, so that the same subject material is exhibited left and right.
If it’s your own camera work that you are demonstrating, no worries… some cinematographers object to having their source footage uh…. subjected to being exemplified. If your grade is mostly about unpacking S-Log encoded media, its also kind of an unfair comparison since we don’t really know what the source exposure range might have been.
In the end, is the value of a split-screen about “Here is what I did to fix it, or enhance it… or did we get to where the producer felt it propelled the story?”
jPo, CSI
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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If I am visualizing this correctly, you want to add another treatment over top of an existing one, but essentially a “grad” tracking with some object or horizon line or something.
I’d add a key output to the window node so the qualifier for your “master” secondary is available to a following correction node and use either the line/arrow or square generator to create the grad. You will probably need to copy the tracking info from the master qualifier and paste it into the grad or re-track it and hope its the same. The key will be acting as a Boolean operator.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.