Marc Wielage
Forum Replies Created
-
XML does not support any color-correction decisions. In order to round-trip from Resolve to FCPX, you have to actually render the color-corrections in Resolve to new media and generation an entirely new XML.
The alternative is to finish entirely within Resolve, which has many advantages.
-
Be sure to save your Resolve Keyboard Mapping shortcuts prior to installation, export them to a text file, and then import them once you have 14b7 up and running.
Be warned that because b7 has moved some of the Project Settings to Preferences, you will need to redo your Auto Save, Live Save, and Panel Settings from scratch. This is mentioned in the ReadMe but is not yet in the August 2017 manual.
-
Be warned that Apple has said that both Final Cut Pro 7 and QuickTime 7 will no longer be supported at a certain point, but I think it’ll be the next OSX release after Sierra.
-
You could try to use EditReady to wrap the files and see if that will allow them to play in QuickTime:
https://www.divergentmedia.com/editready
-
Well, you could conceivably do your entire edit, color-correction, and finish in Resolve. Simple VFX can work fine. If you had a shot here or there that needed complex effects, you could always export those with a “nominal” correction just to give them a decent working color space, do the effect work, then bring it back into the timeline for the final. It’s typical for me to get a short or TV show or feature that has anywhere from a dozen to a hundred or more VFX shots, but everything else stays in Raw format. Raw playback speeds are largely a function of hardware; you throw enough hardware at it, and you can playback Raw reasonably well in Resolve. I’ve done several 4K/4.6K DNG projects that weren’t too difficult.
Many huge Hollywood films and shows just transcode everything to a lossless format like DPX or EXR, which lends itself to transparent hand-offs to the VFX and color departments without compromise.
-
There are a couple of DPX utilities out there that can help you embed new timecode in the headers if they don’t already have the correct timecode:
https://www.softpedia.com/get/System/File-Management/DPX-TimeCode-Editor.shtml
https://pomfort.com/dpxheadereditor/
I believe these are not specifically Resolve problems but inherent in a lot of editing programs when you try to use DPX files.
-
I waited until Resolve 14b6 before upgrading, but I was able to successfully go through an entire 90-minute feature about a week ago. I had maybe 3 crashes in a 50-hour period (which I don’t think is that bad). I never lost any work at all and had no more than about a 1-minute delay in relaunching and/or rebooting. I’m thrilled with the new features and am not anxious to ever return to 12.5.
-
It’s possible the people at MacVidCards.com would have an explanation on what works and what does not.
-
[Mathew Farrell] “Hold the phone, I’ve just read about colortrace. Will get stuck into that as soon as I’m back in the grading suite.”
ColorTrace is a pretty miraculous feature. With no exaggeration, ColorTrace used to be a $50,000 option for the daVinci 2K color-correction systems throughout the 2000s (prior to Resolve). I think ColorTrace was a bit flakey in Resolve 8, 9, and 10, but it got very good over the last few years and I’ve had zero problems with it from 12 on up. -
[Michael Gissing] “Setup as many variables as you can think of. No need to have saved version as projects and then save as afterwards. Messy.”
It’s not messy when you consider I have to set up and configure about 50 different things, including bin structure, color space, Raw settings, timeline names, output render sources, control panel settings, often-used clips, start timecodes, test signals, slates, and other things. It’s not just frame rate. The setup takes 5-10 minutes. Having 3 projects, each one set to a specific frame rate, takes me 5 seconds to do a save-as when I first start a project.