Joseph Owens
16
COW Coins
16
DaVinci Coins
Forum Replies Created
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Pretty much.
Media Manage is similar to the legacy FCP7 approach. You do have options about how to set it up — selected clips, selected timeline…
It can be extremely time consuming, depending on whether certain parts of the sequence has embedded special characteristics (speed effects will cause the entire clip to be archived, not just trim points) and a few other teeny tiny little gotchas.
If it is long-form / feature length, I’d advise cutting up the timeline into “Acts” so you don’t suffer *start-from-scratch* syndrome if there is a hiccup… somewhere around the 40-hour mark of re-compressing and storing media, usually.
JPO
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BlackMagic supplies an application called “Disk Speed Test” which isn’t theoretical at all.
What it tells you is your current configuration’s performance and you can extrapolate from that.
It is slightly more complicated than doubling up the numbers since the CPU/GPU balance will come into play once the Resolve application is ingesting and decoding/decompressing your source media. The demands between high-bitrate non- or lightly-compressed material is different from lower bitrate, highly compressed media.
JPO
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Assuming you also edited on a 23.98P timeline, in Delivery, Master settings / Video:
You have chosen your codec (DnX, ProRes…) Resolution… Frame Rate… drop down to 29.97 (3:2) — another option appears “Drop frame” probably not relevant for a :30, but deliveries can be picky… New option is to use Constant Bit Rate — won’t make much difference over 30 sec, but easier to fix later if you had to.
and so on.
JPO
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No, not particularly “free”.
First point of reference should be the BlackMagic Configuration Guide:
https://www.blackmagicdesign.com/ca/support/family/davinci-resolve-and-fusion
scroll down under “Latest Support Notes” to the guide published for version 15, dated 09 August 2019.
I’m running version 16 on an iMac 5K with a Thunderbolt / USB3 external media drive and can get reasonable results with a couple of XAVC 4K layers; gets a bit spotty with more than that (mostly in audio interrupt), but turn on “Smart” cache. Also: structure node trees so that anything intense gets taken care of at the beginning of the concatenation and won’t have to be re-rendered if you tweak a secondary *or something* towards the end. The big bottleneck-reliever is always to divide-and-conquer. Share out as much of the processing load as possible so that drives are not being addressed for both input and output (cache should not be on your source drive, that sort of thing). It always helps if your media itself is not so bitrate-dense that the CPU is being dragged down trying to make the initial picture before the float takes it apart again.
We are *always* skating on thin ice trying to make this thing go fast, so it really helps to spread out the point pressures.
jpo
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Would you like to keep things as simple as possible, or would you prefer to encumber the process with color management that is often beyond your control and adds transforms that some people really don’t like?
If your project (apparently) is rec709 straight-through, then choosing to overlay a color management process is just adding a layer of complexity that is likely not necessary. Alternately, if there is some reason to comply with, for example, an ACES workflow, then choose accordingly. Input colorspace (IDT) should match your acquisition, so that the appropriate linearity is reconciled with the Source Space : Display Space transform. Any intermediate colorspace… ACES, Blackmagic, et al., are really just intended to establish a common exchange so that media is interpreted and placed correctly and then re-tabulated for its intended export reference.
Your project appears to be entirely linear. It would be like planning a trip from your house to visit next door, but wondering if you should go to a different neighborhood first. Walk.
JPO
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One possibility (long shot) is that occasionally a clip won’t re-link if there is a duration discrepancy — you ask how? The only TC that Resolve takes into account is the STARTING count, and the rest is extrapolated from the frame rate. Otherwise your strategy of re-establishing the 01: hour is the orthodox method of fixing this.
Something to try would be to attempt to “Force” the Relink by selecting the new clip in the Media bin, then right-click on the offline segment and opt to force conform with the selected media.
It may generate an error code or warning, and then you will have another clue.
JPO
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“extra minute”…?
1:00:00:00 is one hour, and is basically an industry standard designed to avoid negative time. Basically because there was a convention to add test signals, slate, countdown &c. prior to Program Start *in the olden days.* I was never that fond of it myself because it messes up some synchronization with leader occasionally for Non-Drop uni-clip media in Drop Frame sequences.
Many broadcasters require a starting time code of 10:00:00;00, but that probably isn’t going to be an issue here either.
Right-click on the timeline in the assets bin. It will bring up a Timelines> dialog that includes “Starting Timecode” and you can set in anything from 00:00:00:00 to 23:59:59.NN depending on what your frame base standard is.
JPO
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If you have not consulted the BMD Resolve Support page and reviewed their configuration guide, that would be the best place to start. There may not be a lot of help there, specific to a 10-year old platform, so you may have to step back a few documents. There are OS conflicts in later versions of Resolve and the vestiges of the AMD/nVidia war that will not allow you to run the default CUDA-capable Apple driver. nVidia has been updating their GPU drivers reactively — and each driver is OS-version sensitive. OS and GPU driver must match exactly unless you hack the kext line that examines the OS version agreement.
I am running Resolve 16 on a 2010 MacPro tower, so it can be done, but this particular cheese grater is not your dad’s MacPro anymore, either.
JPO
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[Marc Wielage] “A/B rolls are pretty rare, at least in terms of video post with film.”
And they have their own set of caveats.
Timed a cut/print A/B project a number of years back, where the hope was that the *checkerboard* assembly wold fit back together. What the producer did not count on was the 2/3 field cadence which destroyed the frame-to-frame correspondence and online 29.907 edit couldn’t cope with — that is matching a C- or D-frame cut on Field 2. Even if you ignore 4-field colour framing, which we could sort of do because we were not working in baseband composite; it was a DCT conform.
Same for the “2-frame” flicker-cut. In the days of conforming to 29.97 video, it was 2-3. Sorry. 4 doesn’t go into 5 evenly. Even if you lay down the film with exactly the same SMPTE cadence.
But those days are gone, aren’t they.
jPo, CSI
\”I always pass on free advice — its never of any use to me\” Oscar Wilde.
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One at a time. I don’t think BMD really translates .psd layers.
jPo
\”I always pass on free advice — its never of any use to me\” Oscar Wilde.