[Joseph Owens]

[James Harding] “I have done some visual effects in After Effects which contains lots of video files overlayed and composited with effects on the files. “

Like fine cuisine that requires a few steps in the preparation, it gets to be a complicated recipe.

All of this is converging on the ambition that BlackMagic has for Resolve as an “online” tool. At the moment, yes, all you have at your disposal is the ability for Resolve to alpha-composite multiple layers of visual media, but whatever filters you have applied in AE will not be available to the colorist. With the next version of Resolve (ten), colorists will be able to add plug-in effects to nodes, and this may be a step closer to simulating an After Effects environment — which may or may not be exactly translateable vis-à-vis things like lens flares, glows, Photoshop artistic embosses, and so on.

We’re getting there, but for now… best light for layup, return for match/contextual grade, export in layers for final treatments and final composite.

jPo

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

[Joseph Owens]

Nothing “offline”?

Have you tried the browse option to see if the clips that are missing are visible?

jPo

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

[Joseph Owens]

Agree, Shane. Something got adjusted on import — perhaps some kind of line adjustment, field priority, aspect ratio, scaling…

jPo

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

[Joseph Owens]

First thing to do is to browse directly to the folder where your clips should be to confirm that Resolve can see them at all. Simplest possibility is that the clips were exported with a hidden or no suffix.

You can right click on the imported sequence to export a “missing clips” list. Worth a try to see if some kind of trend emerges if any of the clips share some problematic characteristic.

jPo

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

[Joseph Owens]

Check your “full range” or “linear video” settings. Extremely crushed blacks suggests that “0” is being mapped to some negative value in your playout… If 64-940 is being pushed out at 0-1023, but then being re-interpreted
as if 64 is supposed to be at 0, then it will go below zero.

jPo

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

[Joseph Owens]

[Eric Liner] “would it be unreasonable to think that we could add additional GPU to improve performance “

Performance is a blend of data-throughput and total CUDA-core processing. If you can string out a farm of graphics processors, then there is little to prohibit going ahead. What is guaranteed is published in the Blackmagic Resolve configuration guide, for Mac and Windows platforms, towers, laptops and i-devices.

This mostly only applies to the licensed version.

jPo

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

[Joseph Owens]

Sorry — the two middle paragraphs concerning Patty Smith Hill are from IMDB. Hope the SWAT team doesn’t show up before I can issue the atrribution.

jPo

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

[Joseph Owens]

[Jonny Cates] ” It’s just like the person a few years ago that went out and copyrighted the tune; “Happy Birthday To You”. He didn’t even write that tune. The real author is unknown.”

Not actually that mysterious.
Patty Smith Hill (sometimes connected to Susan Blow and other early childhood educators).

Happy Birthday to You, which she wrote with her sister, Mildred J. Hill, was intended as a classroom greeting. It was first published in 1893 as “Good Morning To All.” The lyrics were amended in 1924 to include a stanza beginning “Happy Birthday to You.”.

In 1988, Birch Tree Group, Ltd. sold the rights of Happy Birthday to You, along with all its other assets, to Warner Communications for an estimated $25 million. With Auld Lang Syne and For He’s a Jolly Good Fellow, Happy Birthday to You is among the three most popular songs in the English language. The song is expected to enter public domain upon expiration of copyright in 2030.

My read on the re-publishing is that the use of commercially-sourced media comes with the proviso that it is part of an original composition created by the licensee, but is altered in some way so that it cannot be essentially offered for re-sale in its raw state, or accessed in that state by a third party. This is one of the rules around use of stock footage.

jPo

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

[Joseph Owens]

Concur — try re-encoding the 1280×720 mpeg2 to something else — Resolve might be balking at a non-standard resolution for that codec – expecting it to be 1080.

Stranger things have happened. ProRes 1440×1080 used to be misdiagnosed as DVCPro50 by Kona cards.

jPo

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

[Joseph Owens]

[Neal Boyle] “Anything I should be aware of?”

You might want to check out:

Native AVC-Intra Editing Workflow
You can ingest Panasonic AVC-Intra media natively using the Log and Transfer window (without transcoding) and edit with real-time effects in the Timeline.

Before ingesting the AVC-Intra files, you must configure the Log and Transfer window preferences. For more information, see Stage 1: Choosing the P2 AVC-Intra Plug-in for Transfer.

After ingesting your footage, you can create your sequence settings by dragging an AVC-Intra clip into a new, empty sequence. Final Cut Pro automatically conforms the sequence compression setting to the Apple ProRes 422 (HQ) codec, which is the appropriate rendering format for AVC-Intra footage. After you ingest your AVC-Intra footage and convert it to QuickTime files, you cannot render your footage back to native AVC-Intra footage because the AVC-Intra codec does not support encoding.

As to the difference between FCP6 and 7… some might suggest that 6 has been dead longer.

jPo

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