[Marc Wielage]

If I were you, I’d render out a flattened file of the entire project in a high-res format of your choice — DNxHD 444 could work well — then create a new empty project, load in just this file with no corrections (and the soundtrack), then create the DCP from that. It’ll go a lot faster and will present a lot less overhead for the system.

[Marc Wielage]

And there is a third approach: redo all the repositions by eye within Resolve and use Resolve to create the final deliverable version (or at least a flattened file of the entire video file).

Not all transitions, titling, composites, repositions, audio mixing & effects, and speed changes are compatible within different editing applications. This is the reality of modern post workflow: Cuts, dissolves, and fades are fine, but XML’s can only handle so much. It’s a problem for Avid, FCP7, FCPX, Premiere, Pro Tools, and Resolve (and pretty much everything else out there).

[Marc Wielage]

The way that the sound mixers I’ve worked with have worked around this problem is to do the following:

1) export an XML from Resolve

2) create a small ProRes LT file with visible timecode at the top of the frame (so they can see footsteps at the bottom), with a rough mix to follow

3) make a complete set of all the sound source files and copy them to a drive

4) give the XML and drive to the Pro Tools editor/mixer, and have them use Conformalizer to reconform the entire cut within Pro Tools from the original source files:

https://www.thecargocult.nz/conformalizer.shtml

I find this is a more reliable method for quite a few editing programs. There is a more direct connection for Avid -> Pro Tools, but they’re owned by the same company.

[Marc Wielage]

[Helen Cho] “I’ll be exporting an EDL from Premiere (which now allows for 32 characters in clip and reel names) for Resolve.”
I think in general you’re better off exporting XMLs instead from Premiere to Resolve. There are sometimes minor issues with the import (to any editing program): 1) any wipe transitions are generally left behind; 2) speed ramps and reverse motion changes do not work; 3) repositions may not work depending on the aspect ratios of the Premiere project compared to the Resolve project; 4) composites generally do not work; 5) titles are buggy and often do not work (they seem to come up as scrolling titles).

But straight cuts and dissolves and fades work very well, and it is possible to at least conform the clips quickly and efficiently. I just had a project that had about 40 or 50 complicated wipe transitions in a 20-minute short, and every one of them had to be done by hand. Same with speed changes.

Note that if you go from Premiere to Avid or Premiere to FCPX, there are similar issues — this is more a limitation of XML than a Resolve problem per se. EDLs are extremely simple and generally are not enough for a complex edit timeline.

[Marc Wielage]

DNxHD 185 is a pretty light-duty codec and should not be that hard for most systems to handle. Beyond upgrading your RAM, your CPU, and your GPUs, I’m stumped.

[Marc Wielage]

I think it’s fair to say that the BMD people do listen very carefully to users and constantly consider making changes to features and the user interface. If you look at Baselight or Lustre or Nucoda or Pablo, I think those programs get significant updates far less frequently than Resolve does.

[Marc Wielage]

I think there are a whole lot of potential issues here.

1) you may be stressing out your hardware to the point where you just need to get a bigger computer (bigger GPUs, more RAM, faster CPU). It’s possible doubling your RAM alone might help.

2) If the 30-minute project causes the computer to crash, try slicing it up into three 10-minute projects, then at the very end, create a master timeline consisting of the first three timelines and render those. It should “in theory” work.

3) long, long single shots are very trying and complicated to track. A ten-second shot is pretty straightforward, but once you hit a minute+, it takes a lot of time and skill to really track the shapes well. In some cases, you can break the shapes down into multiple shapes, then cut and paste the tracking and then make manual changes if necessary. I have done maybe 90-second or 2-minute shots before, and the problem there is dealing with occlusion and creating masks to obscure the window when other people or edges of walls get in front of the character being tracked. It can be done, given enough patience and time.

4) BMD will probably tell you that you’re better off using newer operating systems instead of Windows 7, so you might try backing up your entire system and switching to Windows 10 and see if that’s an improvement.

[Marc Wielage]

There are some effects that can be done in color grading, and some color grading that can be done in VFX. But they are not the same thing.

Having said that: as mentioned on another forum, you could try Boris Continuum and see if their various glow effects will do what you want. A lot will depend on how you can rotoscope out the background from the foreground. At some point you have to do three things:

1) shoot with the desired effect in mind

2) do tests

3) if necessary, use a real compositing program.

I’ve found you can sometimes limp by doing some of this stuff in a color-grading program, but there are always limitations. This isn’t a Resolve problem — there are identical issues with Baselight, Nucoda, Pablo, and so on. Mistika actually has more VFX features than most other color programs, but it’s very specialized and not cheap.

[Marc Wielage]

No, I don’t know of a utility that can reach inside a file and reset camera file metadata like this, at least not on a grand scale. You could do it clip by clip, but not a whole bunch of files at once.

[Marc Wielage]

I believe this feature was introduced in Resolve 12.5 in April 2016. Dedicated keys for previous node/next node do exist on the Tangent Elements panel.