Marc Wielage
Forum Replies Created
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No, it’s going to try to reinterpret the frames as best it can. My advice would be to grab a bigger piece of the original material and then slip and slide it to get the first frame to whatever you want after the speed change.
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There’s always the brute force technique: take the original project, grab all stills, go back to the new project, and manually copy those grades over to the new project one shot at a time. I have not seen ColorTrace fail too much in the last couple of years, but I have seen it crash and become unwieldy under certain conditions. It’s been pretty good since 11.
You might also try exporting old project, then reimporting it under a different name and using that for ColorTrace and see if this fixes the black frames. I’m guessing this could be some mild database corruption, but it’s only a guess.
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No. Everything has to have the same rate as the project. This is pretty much etched in stone. My advice would be to make a decision as to how you need to deliver the project, and then alter the speeds for the clips shot at different rates and make them the same rate.
One of the basic issues of workflow is that you have to make a decision early on as to how to shoot the material in order to be compatible with your delivery requirements. If you don’t do that, it can potentially be a trainwreck.
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Yes, but the trick is getting the aspect ratios to work for an entire project, which will probably require some compromises here and there.
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What kind of camera files are they? Resolve depends on the Reel Name information and timecode information for the conform, and the file names have to be unique.
In worst-case scenarios, you can load in all the camera files first, then bring in the XML and manually go through and sort out any clip conflicts. Read the sections in the manual on conforming (pp. 524-558 in the manual) and you’ll find a lot of tips on what to do with problematic file names or reel names.
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“So, turns out it was rendering the grade, but the result just looks nothing like it does in resolve. I’ll wait until I get my calibration gear on Monday before opening my trap again.”
My advice for next time would be to pull the rendered file back into Resolve and A/B it with the corrected image, and check the scopes. If the picture is identical, then it is what is and you have a monitoring issue. You have to be able to monitor within a color-managed system; otherwise, the operating system is going to affect it. This is a primary reason for monitoring through a Blackmagic display output.
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Yes, you could use Media Management to transcode all the files and then automatically link to them, pp. 488-496 in the manual.
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No, but there is a dedicated “Previous Node / Next Node” button on the full-size daVinci Resolve control surface. I really would like a menu command for Previous Node / Next Node, I’m thinking under the NODE menu. Maybe ^N for Next Node, ^P for Previous Node. No luck getting this as a new feature yet.
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Not optimized media per se, but it is possible to make temporary transcodes, use those for color correction, and then manually swap them out for the full-res files for final delivery. The question is whether you’d like to use automatic optimized media or do it manually. As far as I know, only by doing it manually can you specifically control the source drive.
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Unfortunately, a laptop is generally not a good choice for Resolve. Particularly a 5-year-old MacBook. I think a high-end desktop replacement can work if it’s got tons of RAM, a very powerful CPU, and good GPUs, but it’s going to be tough otherwise.