[Marc Wielage]

Wow, this is a blast from the past.

It’s as if Resolve and FCP 7 were completely different programs!

[Marc Wielage]

This is more of a Mac Pro problem than a Resolve problem per se. You should go to one of the hardware-specific 5.1 Mac Pro forums out on the web; the Mac Pro group on Facebook is very active and gets questions like this every day.

[Marc Wielage]

JPGs will work, but they’re not an ideal file format for Resolve. The added compression will not help, either.

I think you’re better off with TIFF or DPX files. If you can batch-convert all your stills to this format, I think it will work better.

[Marc Wielage]

[Terence Christopher] “I find that if I enter text into the time line rather than overlaying it over a video that it causes desynchronisation of the audio track even if they are supposedly locked.”
What specific camera source format are you using? What audio format?

My suspicion is that maybe the process has cached the image for some reason. Delete the cache and see what happens.

[Marc Wielage]

There are three decent Resolve tutorials out there that I recommend:

Alexis Van Hurkman’s Resolve Tutorials:
https://www.rippletraining.com/categories/davinci-resolve/

Patrick Inhofer’s Mixing Light Resolve Tutorial:
https://mixinglight.com/

Warren Eagles’ FXPHD Resolve Tutorials:
https://www.fxphd.com/resolve15/

I like all three for different reasons: Alexis’ is very thorough and technical; Warren is very down-to-earth and provides practical examples; and Patrick goes into the basics and touches on non-obvious extras. Each does a very good job. I have not been as impressed by the other tutorials on the web, frequently done by people with dubious credentials.

Alexis’ book is also very good:

Alexis Van Hurkman’s Color Correction Handbook:
https://www.amazon.com/Color-Correction-Handbook-Professional-Techniques/dp/0321929667

Patrick Inhofer’s “Tao of Color” newsletter and website are also informative resources:
https://www.taoofcolor.com

The LiftGammaGain website is also informative and has many hundreds of professional colorists as members:

https://liftgammagain.com/forum/index.php

The BMD Resolve v15 manual (also written by Alexis Van Hurkman) is also very informative, but you need time to go through all 2739 pages and try out every menu, every panel, every control, and every mode.

Also good are the following books:

Color Correction Handbook: Professional Techniques for Video and Cinema
https://www.amazon.com/Color-Correction-Handbook-Professional-Techniques/dp/0321929667

The Art and Technique of Digital Color Correction
https://www.amazon.com/Art-Technique-Digital-Color-Correction/dp/024081715X

Digital Cinematography: Fundamentals, Tools, Techniques, and Workflows
https://www.amazon.com/Digital-Cinematography-Fundamentals-Techniques-Workflows/dp/0240817915

Modern Post: Workflows and Techniques for Digital Filmmakers
https://www.amazon.com/Modern-Post-Workflows-Techniques-Filmmakers/dp/0415747023

[Marc Wielage]

The manual covers this in great detail — go through it carefully and try not to jump into a big project too quickly.

[Marc Wielage]

Do the audio files have timecode? Do they have unique file names? This is generally the problem when trying to get files to conform properly with an XML.

What is the file format? That can also have a bearing on the accuracy of the conform.

[Marc Wielage]

[Oliver Peters] “When I go to insert a clip onto V2 (for example a reference export from the offline editor), it also defaults to creating an additional, audio track A2 and edit audio to it along with the video edit to V2.”
If I was dealing with a reference clip in a conform situation, I’d do two things:

1) option-drag from the bin so that only the video comes over and not the audio at all

2) consider only bringing in that clip as a Reference File, which you can use for comparison as an Offline Reference (either in the source window or on the main color page).

There are advantages and disadvantages to each method. For color, I usually go with the Reference File import, but I know quite a few people who’ll use a specific track on the Edit page for a visual reference during conform, usually as a split-screen.

[Marc Wielage]

My opinion is that iPhones are bad choices for video cameras. You’re better off getting a real video camera (even something modest like a 5D or 7D DSLR, or perhaps a low-cost BMD camera) and then degrading it to make it “look” like a cell phone camera. You can always add an iPhone overlay to make it look like a phone — I’ve done that several times in indie films.

[Marc Wielage]

[Sascha Engel] “Anything that is more serious, e.g. nightshots with high cranked ISO, it’s NEAT only for me. The difference in quality is beyond words. Way better cleaning, not losing details, and amazing sharpening tool. NEAT is worth every single Penny. And the new Version 5 actually is about 20-25% faster in rendering.”
Sascha, I’m confused. In the first message, you said the new Neat Video NR is bad. In this message you say it’s “amazing.” Which is it? Does the new version for Resolve work well or not?