[Joseph Owens]

[Sascha Engel] “also the clips come in wrong scale and Ratio.”

This could be as a result of the way resolve treats input scaling on import and then re-applies (or does not) rescale the clips according to PTRZ transforms in the FCP Motion tab. So you ether get double-scaling, the correct scaling, or no scaling, which may or may not be re-applied once you get the XML back in FCP.

A lot of people still operate the export roundtrip the way David advises — if they can’t cope with all the possibilities of how the source media has been treated in all the different ways that the NLEs follow the beat of their own drummers. To be honest, even sharing projects between users will yield the same kinds of problems, for example if one editor simply cannot bear the thought of using the usual set of fonts installed in a system and has to go find obscure typography that is a) unidentifiable, b) expensive when you do figure out what it is and where to buy it, c) replaced with AbadiMT by default and blows away all the careful kerning, leading and placement that was so lovingly executed. So when OFX transition “Film flashover with scratches, fogging and weave” isn’t supported by Application B, either you have to do it again, or work around it.

Pick your poison.

jPo

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

[Joseph Owens]

[David Baudry] “it started to freeze each time i press play”

Normally I associate this behaviour with overloading the call for data from the source drive or exceeding the VRAM associated with the GPU. You appear to be running a single Graphics card, the iMac internal nVidia GT55M. Are you sure this is not the GT755M with 1 GB of VRAM? If so, this card would be seriously under-powered.

You can correlate your system with the DaVinci Resolve on iMac configuration guide. The information mostly relevant to the late 2012 27″ iMac stresses a model with a minimum of 2GB of GPU memory and to make absolutely sure you are running in 64-bit kernel.

If you are using a compressed codec, the CPU can also become seriously overloaded — even Apple ProRes presents a challenge for a single-GPU system, but RED or H264 would likely exceed the capability of an all-in-one computing platform.

As far as the 2012 iMac is concerned, the official position of BMD is (quoting from the 2013 config guide):
“…provides a flexible and simple desktop workhorse for real time previewing, grading and finishing material up to and including HD. It can also provide a good platform to review and grade higher resolution than HD images which you can render at slower than real time in the iMac. Alternatively use it as a grading station, then move the project to a faster hardware platform such as the MacPro for rendering.”

jPo

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

[Joseph Owens]

[Bret Williams] “I’ve got a multicam edit that is 29.97 except one camera that is 23.98.”

Out of curiosity, is this a format that has discrete timecode or is it one of those DSLR-type media streams that has an inferred count?

As far as the discretionary output display frame rate goes, how that decision was made was above my pay grade as they say. However, there are advantages to being able to do it, for example in a plant that has a standard internal distribution, like a TV station that might be 29.97 everywhere, or if the final output was going to be interlaced, so that potential sources of QA rejections were caught and fixed up front. I get a lot of half-tone graphics, which may look okay on the 4K 24P screen, but is singing like a flock of canaries on the broadcast output.

Its my story and I’m sticking to it.

jPo

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

[Joseph Owens]

[Bret Williams] “The clips play back faster in the bin too.”

Clue #1.

Your 24 fps media is being treated as 29.97, and then Resolve is doing what it does, which is count frames without regard for what the actual framebase might be. Depending on the version you are running, there is provision in the XML import dialog to invoke a routine that will account for differing frame rates within a timeline. You may also be able to change the frame rate of the source clip in the Media Browser Inspector.

The Central Scrutinizer has that power.

jPo

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

[Joseph Owens]

[Pedro Santos] “After that when I go to render, the preset that I chose returns to “None”. And I try again to change it and it lets me, but when I click Render it always goes back to “None”.”

What behaviour are you expecting, and why is it that you think that the media being rendered is somehow related to the FCPXML?

jPo

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

[Joseph Owens]

Resolve has a love/hate relationship with input sizing and “use sizing information”…

It is doubling the instructions if you have the project settings… Image Scaling defaulted to bring in mismatched source media “scale to fit ” or stretch, or anything else…

Its a pain, but you might be able to un-check the PTRZ transforms in the Edit Inspector, or re-set them to unity.

jPo

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

[Joseph Owens]

[Rakib Uddin Rana] “Do i need to convert the dpx with that? Or I just import the dpx to “easyDCP Creator+” and it will handle the dpx by itself?
Is there any quality or playback issues will happen between these two type of conversion?
“

My understanding (I do not use easyDCP myself) is that Creator is capable of converting a dpx sequence — it likely calls an imbedded converter which, given the manufacturer, will be indistinguishable from its standalone application. A bit like exporting a file from Premiere — you can either choose to export directly out of the timeline or call Adobe Media Encoder –same application, just going through a different door in the house.

The forum can correct me on this if it is not the case.

You might be interested in reading a recent blog by a prominent post supervisor on the premise of this type of resolution conversion — search for “2K is a crock.”

Make very sure you are using the proper 0-100 video range.

jPo

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

[Joseph Owens]

[Rakib Uddin Rana] “1. should I export the sequence (from resolve) with the native frame size (2048×1152) or DCI size (1998×1080)??”

Here’s a tutorial that starts with HD 1920×1080 to make a “flat” 1998 DCP package:

https://www.easydcp.com/support-videos.php

Because both formats are 16×9, (2048 and 1920), you will be scaling and/or pillarboxing at some stage, either out of the DCP creator or Resolve whether you export a dpx sequence or a completed DCP package, depending on how you wish to manage the vertical resolution.

If you are absolutely using easyDCP Creator+ to make the final DCP, my own impulse is to export a full-frame 2K dpx sequence and let the authoring software do the jp2K conversion. This might also un-complicate your audio track assignment configuration, as Resolve is not particularly flexible in this regard.

jPo

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

[Joseph Owens]

[Will Fiennes] “Deliver back out of resolve at Dnx185x to a new media files folder
Import databse file from Avid media files structure into bin”

Why would you not be using the exported AAF that Resolve can either create (new) or modify (the original MC AAF) to complete the round trip?

Importing the mdb is more like a last-ditch effort to call the media into a new Media Composer project, but there is unlikely to be a timeline associated with it.

jPo

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

[Joseph Owens]

Now that Adobe has totally abandoned DVD authoring, its just us trying to help each other out.

The preview area is not always exactly accurate… the better test (and only one that counts) is to burn a disk. It seems like there are issues with getting the AR correct, and the older the version, the worse it gets.

Change button colours in preferences with the Menu… “Edit menu color set.” Most of the options in Encore operate pretty much opposite to how you expect them to. When you have found the dialog, deselect Automatic and choose Menu Default. Then you can redefine the selected and activated state colors.

jPo

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