[Marc Wielage]

No, this is in color mode. It’s a real problem. Sometimes switching back and forth to the Edit page and back to Color solves the problem. Quitting and relaunching ALWAYS solves the problem. I believe it’s a bug in Keyboard Shortcuts but have not confirmed it.

Copying and pasting is also problematic on the Edit page, I think it’s a related issue. Sometimes it works great; sometimes not.

[Marc Wielage]

[Bruce Gaber] “I’m trying to apply a simple grade from a still to a clip and it just does not work. I’ve captured the still and tried both methods. I.e 1) select the target clip; “middle click” the still from which I want to copy the grade…and 2) select the target clip; right click the still>apply grade. Neither works. It has worked before.”
I have not seen this exact problem, but I have on rare occasions had cases where middle-mouse-click stops working. Usually quitting and relaunching the problem brings it back (sometimes for days). I think it’s an intermittent thing.

Just curious: what kind of mouse are you using? I specifically use a wired 3-button mouse with Resolve on the Mac because I think it’s more reliable. Wireless mice are flakey for me, and trackpads are frustrating and weird. (But I have zero problems with Trackpads on most other programs.) But I use a lot of Powercurve windows sometimes.

[Marc Wielage]

[Fernando Garcia] “in my experience , no. Could be a known issue with the cylinder … that only happens with in Resolve. Exported edition xml to FCPX does not happen to have those lines when sharing master.”
Although note there are Premiere people out there on the web who have chimed in that they, too, are seeing render glitches from the 2013 Mac Pros. In fairness to Apple, the GPUs are malfunctioning and overheating; in fairness to AMD (who makes the GPU), I don’t think they ever intended their chips to not get enough ventilation in a small enclosure like the Trashcan Macs. It’s not a Resolve problem per se.

[Marc Wielage]

[Eric Klassen] “I’m working with someone who used a BM 4K camera to shoot a 1hr clip to turn into a time-lapse, brought it into Resolve, changed the time on the clip to play in 1min, and it’s taking 6hrs to render. Is there a faster way to render? What’s causing this delay?”
Well, on a modest system, it might take at least 2 hours just to render the one hour of material, depending on the rendered format and resolution you choose.

Given that you’re speeding up the material by 60X, my guess is that Resolve needs to cache all that information, figure out how to compress the frame-rate, and then finally render out the 1-minute piece.

Even on a fast system, I think this would be taxing. 6 hours sounds a little long, but I could totally understand 2-3 hours. As a workaround: what if you rendered first at the original speed to a mezzanine format like DNxHR or ProRes, then took that flattened 1-hour file and sped that up 60X? I bet that could be done fairly quickly, since the CinemaDNG (or BMD Raw) files would now be debayered and easier to handle.

[Marc Wielage]

There’s nothing done in Color Match that you can’t also do manually. All it takes is time and work, plus knowing how to interpret scopes and the monitor.

[Marc Wielage]

You can selectively key out the problem just as easily as Premiere in Resolve.

[Marc Wielage]

What are your Raw settings? Are you using a LUT?

One workaround: use Soft Clip and reduce the Blue clip level.

[Marc Wielage]

My two bets (and I have absolutely no way of knowing anything):

1) they’ll call the new version Resolve 15.5

2) they will demonstrate a Resolve system running 8K in real time on 8K displays “just because.”

[Marc Wielage]

What happens if you export the XML from Premiere and then import that into Resolve?

[Marc Wielage]

[Glenn Sakatch] “Adding a LUT at certain locations in the node tree I believe will cause destruction of the 32 bit float theory.”
So will hard limiting or extreme keys. Do that, and you can’t get the information back. Lopsided crushed blacks (say -20 on Red, -10 on Green, -5 on Blue) is hard to normalize after that. Really screwing up Offset (Printer Lights) and the RGB Mixer can also wreak havoc on subsequent nodes. There are limits even to what 32-bit processing can let you recover.

I’ve warned students before that the principle of gain staging in audio also applies to video: if you badly screw up the signal early in the chain, it’s harder to undo that later on in the node tree. In particular, extreme gamma changes can create noise issues under some conditions.