[Marc Wielage]

If you have three dynamic keyframes in a row, they will smoothly interpret between them. Is this what you mean? An end keyframe won’t do this. You can vary the dynamic attributes by right-clicking, if you want to alter how they start and end.

If you need to jump to the previous or next keyframe, you can use the ] and [ keys.

[Marc Wielage]

The usual Mark In shortcut (“i” key) is not working for me on the Delivery page, but I have successfully used the >| button for in and the |< button for out.

With the Delivery page (I balk at saying “Deliver” page) set to Color, you can make the timeline large or small with the scrollwheel on a 3-button mouse. In the Edit mode, you can control the timeline size with option-scroll. Interestingly, you can click-drag the in and out points in the Delivery Edit mode, but not the Color mode.

You can reveal Timeline Timecode via the window in the upper right of the viewer. I would agree with you that the display should always default to this mode.

Timecode Data can be inserted into the frame if you have checked off “Data Burn In: Same as Project” in the Format options section. That’s assuming you turned on the windows with the Data Burn-In settings.

[Marc Wielage]

[Dave Williams] “My normal operation when grading is to put 4 untouched serial nodes back to back and start grading on the 5th node. I do this so if I blow out the sky on 5 I can always go back to one of the empty 4 and with a power window bring it back in.”
I’m confused by this. There are ways to get the detail back using a key source that goes back to the first correction node. I think having 4 empty nodes would take up a lot of space and time. But… I concede that everybody has their own working style.

Mr. Most above is correct: adding another custom articulating and tracking PowerCurve and using that as a mask will cancel out the correction in the other window, basically a hold-out matte. The trick is in the tracking and the shape, which takes time… especially if it’s a complex shape with a lot of movement and movement. The 3D tracker in V12 is sometimes good, but none of the trackers work well with really complex shapes, like holding out a body from a background.

[Marc Wielage]

Page 978 in the manual:

Selecting the individual source clips option sets up a render where each clip is rendered as an individual media file in whichever format you choose. The result will be a collection of as many media files as there are clips in the range you’ve selected to render.

Timecode: The timecode written to each clip is cloned from the original source media, making it easy to reconform media for projects being passed between Resolve and NLEs.

Frame Rate: If you’re rendering a project that uses mixed frame rates, rendering to source renders each clip at its own individual frame rate, to accommodate round-trip workflows.

Be sure to choose the top-most button: “Individual Source Clips.” There’s no way to get timeline timecode in individual source clip mode that I can see — it has to be source timecode.

[Marc Wielage]

Remote grades are automatic — ColorTrace takes effort. Where you really need ColorTrace is when the timeline is similar but then has a few (or many) changes, and you need to carry over as many color-corrections as possible.

[Marc Wielage]

Create a new timeline for the new edit, and use ColorTrace to bring in the old color corrections for the existing shots.

[Marc Wielage]

No changes in DNR or TNR in Resolve 12 that I can see. To me, one of the secrets of NR is to noise-reduce the noisiest color channels using a splitter/combiner, or try noise-reducing chroma-only or luma-only (depending on the issue). It’s also possible to just NR the blacks using keys, assuming those are the noisiest part of the signal.

[Marc Wielage]

Not that I can see. You’d have to prep all the scenes in an edit program and create one timeline, then export that XML and then import it into Resolve to conform the timeline.

The alternative would be to bring in each XML one at a time in a separate timeline, then select all the clips in each timeline and copy and paste them into a single timeline… but it’d be a lot of trouble. Could be done, depending on what the timecode is for each sequence.

[Marc Wielage]

Eh… repair permissions? Check to see if the drive is partially locked in the Finder? Make sure the drive is available in the Scratch Drive settings?

[Marc Wielage]

Bring the source files in using the Media Page, and relink to those files in the Edit Page.