[Joseph Owens]

[Oleg Myakinin] ” each frame begins with a half-second later than the original editing in premiere and ending a half-second later. As if da vinci shifts the sequence for half a second”

The answer is in your question.

The confusion is between 30 fps and 60 fps. Resolve correctly picks the correct second to enter the “trim” point, but incorrectly counts double the number of frames because it is correctly treating each of the 60 frames as an individual whereas Premiere is halving the frame count as if it were 30 fps.

Nearly all non linear color correction systems treat media in absolute frame count which is why setting the frame rate at the beginning of the project is critical.

jPo

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

[Joseph Owens]

[Mark Linthicum] “I am surprised i don’t see posts on this topic.”

Discussed every other day.

You are likely seeing a scaling issue where RGB / Y’CbCr full scale 0-1023 vs linear video 64-960 is being ambiguously flagged and misinterpreted.

jPo

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

[Joseph Owens]

This topic was explored a few years ago on the Telecine Group and meandered off as being essentially irrelevant as it is a pretty marginal concern for display monitors — nowhere near what it is for individuals who are exposed to outdoor sunlight.

I would ask your optometrist how it would distort your color vision, if at all and maybe have a look at Ishihara plates if you can test some examples. Don’t know if this really correlates with color blindness, but at least it would be some kind of objective evaluation.

jPo

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

[Joseph Owens]

Thanks for the tip… not sure if I will go back a version — my sense is that I would require an XML export to get the CC2015 version to open in CC2014 and lord only knows what else will corrupt.

Slowly getting some traction, anyway… found that I am able to render tiny bite-size nibbles of the timeline as Previews — anywhere from one frame at a time up to as much as 30-35 seconds. After a full days’ work, I had 10 minutes of the show in the green, so attempted to export a ProRes422 segment. So this morning, after an all-night render, I found that AME had crashed because it had filled the target disk without completing the export — get this — 10 minutes of 1080i2997 was going to be more than 645 GB!

Something is ridiculously wrong here. Trying a 4 minute DNx220 MXF export, but I see that the render bar is crawling along stretching out 18 minutes of machine time into a couple of hours. I would ordinarily expect about a single 5GB file, but we’ll see what cockamamie result lands or crashes this time.

jPo

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

[Joseph Owens]

[Mads Nybo Jørgensen] “As part of your 3o day free trial, did you down-load and try open the project in CC 2014?”

Doesn’t seem to be an option. If I knew where to look it might be worth a try.

jPo

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

[Joseph Owens]

I know this is a problem at 2:53 program time.

What I am curious about is how PremierePro CreativeClod expects to attract people who want repeatable results.

jPo

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

[Joseph Owens]

You could think about cutting the show in Resolve….

But transcoding from Resolve to some sort of LT codec would make the edit “nimbler” in Final Cut, and you would have pre-established the Media database already in Resolve, so you are only using FCPX as an intermediary application to generate an EDL or XML.

Depends on how complex the edit will be — if its a long-form cuts format with a few titles, almost not worth the bother to leave Resolve.

jPo

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

[Joseph Owens]

[Massimo Alberto Croce] “you need to use a Black Magic design card”

or other supported external display device — BMD makes other options, but its only BMD that Resolve will recognize.

jPo

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

[Joseph Owens]

You could investigate “Switch” from Telestream.

jPo

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

[Joseph Owens]

Yes, had this chat over breakfast with an interested individual mid-April of this year, somewhere in Las Vegas.

Its a problem. Thinking about the time-honoured approach of ACMADE/INK numbers that correspond to the original timeline, or something… imbed them in the export footage from the locked timeline as metadata so they will know where to go when you get them back on the farm?

jPo

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