[Mathew Farrell]

Much obliged Eric.

I’ve opened a bunch of FCPXMLs in Resolve too – the format/process is robust enough, especially if you avoid compound clips, like you say.

What I’m really interested is what the Consolidate function actually does–what I’m hoping it does is copy all of the used media to the specified location. It looks like it might actually move all of that media (if said media isn’t already in the location), which could make a mess for the editor’s file system.

I’ve never had need to use Consolidate, because I’ve always been given a duplicate of the rushes drive(s) that had “all” of the material (except for that one song and those logos we downloaded and weren’t quite sure where they were…).

This particular job went away due to lack of budget (I probably dodged a bullet) – but it was an example of where I really didn’t trust the editor to have her act (and files) together, so was looking for a simple way to get it packaged up.

Mathew Farrell
flowstate.com.au

[Mathew Farrell]

Much obliged, Paul, that all makes good sense.

I think we have to be very careful about being slaves to the OS upgrade path – It’s an easy way to obsolesce older but perfectly serviceable machines. I do conceded it’s not always possible to avoid (FCPX was a good example).

Cheers,
Mat

Mathew Farrell
flowstate.com.au

[Mathew Farrell]

Er, scratch that. I can do it now. Not at all sure what I was doing wrong before, but I’m back in business.

Mathew Farrell
flowstate.com.au

[Mathew Farrell]

Hi guys, I’m struggling with this one too.

I can’t seem to add a note to a range. No matter what I do, it gets added to the whole clip.

When the clips are in list view I can’t add notes, just read what’s there. Does this sound correct?
The only way I can see to enter a note is in the inspector, which looks like it refers to the whole clip and not the range.

Even if I manage to get just the range in my browser/list, the inspector affects the whole clip.

Mathew Farrell
flowstate.com.au

[Mathew Farrell]

I’ll echo Joseph, and advise not to try to learn how to make a DCP on race day. You’re right in that it’s not hard with current tools, though there are a bunch of things you can get wrong with no easy way to test outside of a cinema.

I got bitten using the Resolve DCP thingy once. It was all so simple, one button press, bam! mail off my drive, call it done. The cinema called to confirmed that it all looked good, except for the massive DaVinci watermark in the middle of the screen. Turns out you’ve got to pay for that feature.

If and when you do want to make a DCP, the best free workflow I’ve found is to use Resolve to transcode your film into a JPEG2000 image sequence, then use DCP-O-Matic to package the image sequence with your audio. The few gotchas are ensuring the frame rates match, and that you do the correct audio mix-up if your film was mastered in stereo instead of surround.

Mathew Farrell
flowstate.com.au

[Mathew Farrell]

thanks Marc.

I’ll agree that blading the clip is an elegant option in some ways, but I don’t like it myself. It’s just that little bit messier when it comes to changing grades, and an absolute no if you need to stabilise.

Mathew Farrell
flowstate.com.au

[Mathew Farrell]

Hi Bruce,

Did you figure this out yet?
If not, when you’ve got a clip in the source window, mark in and out points, then right click over the scrubber/timeline thing, and there’s an option to make subclip (or option-B on Mac). The subclip ends up with the same filename as the original, sadly. The only way I’ve found of changing this is to right-click that subclip in the bin and change attributes. The last tab has a display name. Stupidly, I don’t think there’s a way to see the display name in the icon view, but in list view of a bin, Display name is one of the column options. It all works fine, but like a lot of Resolve, there are too many mouse clicks for this to be smooth.

Mathew Farrell
flowstate.com.au

[Mathew Farrell]

Thanks for the inputs, guys.

That’s a great tute for manually adjusting a tracking window, but I suspect Rhys is trying to turn it on/off completely. In his example, while the door is closed, you don’t want that power window hanging around making a portion of the frame brighter.

There are probably a thousand ways to do this. I’ve settled on keyframing the window’s opacity. That means opening up the keyframe editor, finding the right attribute (e.g. Corrector 2 > Circ Win ), and dropping static or dynamic keyframes at the points you want to turn or fade on/off your power window. With the appropriate keyframe selected, go back to the Window palette (middle control panel) , select the appropriate power window and change its opacity to 0% or 100% as required.

You might do this in conjunction with manually ‘rotoscoping’ the window, or more appropriately, changing it’s shape with the tracker controls in frame mode, as Duke suggests, which would allow for the edge of the door covering the face for a few frames.

Mathew Farrell
flowstate.com.au

[Mathew Farrell]

Cheers mate. For clarity, do you mean you’d make your selections of say the camera originals in FCPX, then consolidate that selected media, copying it (via FCPX) to the new, working location?

Mathew Farrell
flowstate.com.au

[Mathew Farrell]

Far from ideal, but could do. Or adding unnecessary characters at the end could do it too.

Mathew Farrell
flowstate.com.au