I haven’t been on Mac for years but it sounds like you don’t have the launch icon on your dock, just the downloaded installer. Using Finder, go to applications and look for the Resolve launch icon and try opening that way first. If that works then you need to get that correct launch icon on your dock

Ditto for Topaz AI. I’ve had some excellent results with old footage, upscaling and motion processing like ultra slo mo, blur reduction, frame rate conversion etc. Topaz includes OFX plugins for Resolve although I usually drive it standalone.

Superscale in Resolve is handy for punching in on footage but Topaz does a much better job in removing…

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The audio file probably has no timecode so the replacement doesn’t have a reference. The way I replace a file and retain the edits is to relink the file to the new one. I hope you have a backup or duplicated the timeline before you did the replace.

The look starts with set design, lighting, camera/ lens/filter choice, costume and finally look development in post. They probably worked on creating a LUT for monitoring on set too. Without all departments working towards this look, you can only get so far with contrast, selective desaturation/ saturation and colour density.

I would be leaning…

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I also spotted a YouTube clip on this issue and the fix was to have drivers updated and if that didn’t fix it, then change the preference settings – GPU configuration from auto to OpenCL

You should go to NVIDIA’s website and download and install the latest Studio driver. Avoid the game drivers. I was advised by Blackmagic many years ago to do a custom install so you can check to uninstall the old driver as it installs the new one.

Check the Resolve configuration of your GPU. It indicates you have more than one GPU but the VRAM is only 4gig. It may be that you need to configure the GPU to use the one with processing power required to render your project. You can only use one GPU with the free version and it may have selected the wrong one

Personally I wouldn’t use Quicktime as a wrapper. Try going to .mp4

In general though, render speeds have so many variables it’s always hard to pin point but as general rules I find it faster to render to a different drive than the project media drive. Are your drives full? If so they might be making everything run slow, especially if you don’t…

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BRAW 6k so there is no sensor cropping. I use either Q5 or 8:1 compression for general shooting. For Green screen you might consider less compression but use the whole sensor rather than windowing UHD.

The xml format will not transfer all values between systems. This is especially true if fx applied are proprietary plugins. The only way to get that across is to render the timeline in a hi rez codec and then split the timeline back into clips in Resolve to grade. This will mean no handles but the moves will be baked in. The splitting back to…

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My guess is you have clips with the same file name. This is unfortunately a problem with some cameras that reset their file names each time a card if formatted and start their timecode at zero for each clip. Drones are notorious for this as are some Sony & Canon cameras.

Before editing it is vital that file names are all unique and that…

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My system would render an mp4 of a 17 minute film in about 5 minutes max. So clearly there is a problem which may be anything from a computer that is below minimum spec, to a corrupt file or disk problems. Are you trying to write a file to a drive that has a size limit like a FAT32 formatted thumb drive?

The aspect shouldn’t make any difference. Are the two timelines in the same project? If not check that the project settings are same. Check the project settings by clicking on the gear wheel bottom right. If that all matches up, then on the color page, check that you do not have the clip as part of a group clip which might have further adjustment…

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Same shot and the same grading looking different means your timeline color management is not the same. Also we have the age old problem of what you are looking at and where. If you look at a rendered file on a computer the player and the codec can affect how it looks. It seems like you might be needed to work out how to actually compare the two…

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And hard drives are so cheap that it’s a false economy in many ways

I believe it is possible to consolidate braw without transcoding. I haven’t tried it but I recall seeing it mentioned on a YouTube tutorial. Have a search for that or it might be in the enormous manual

Once you’ve done the grade, you could just put those pictures with the audio work you have already done in the other proxy timeline.

You don’t need to make a new project, just a duplicate timeline.

If you hadn’t mixed things up with two types of proxy, then it might work automagically. I suspect you will need to relink manually. Another option to try is to export an XML of the timeline, reimport that and tick the option to ignore file extension. Then point the relink to a folder…

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Yes a complete mess, but firstly what are you camera original files? I’m assuming BRAW as you said you reloaded them and they replaced the mp4 versions. So my next guess is that you started editing with mp4 proxies. Did they have the same name as the BRAW originals?

If you let Resolve create the proxy files from BRAW then you should have no issue…

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If the free version has the protools export preset on the delivery page then it should be fine. If you are sending the project to the grade and they are using Resolve, then you send a Resolve timeline, not an xml. No point in going through a different translation unless the grade facility is using an older version of Resolve

I’ve lived through the big tech changes of the past 45 years. I feel it only a few more years before we reach a level of machine learning that transcends into actual AI and at that point, we as artists will not be able to compete. I’ve been a champion of digital tech, being one of the first to do film sound recording using digital recorders in…

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I prefer machine learning. It’s a much better descriptor and we will need to have the right words when machine learning becomes actually intelligent and genuinely creatively generative.

Looks like a GPU problem. Could be hardware failure, could be driver software. Have you updated your GPU software driver? Impossible to guess without any info on computer hardware, OS etc.

I used my Tangent Wave with Resolve for years but changed my mind when I saw the functionality and value of the newer BM Micro Panel. It is not expensive to get a much better controller that is not only designed to work with Resolve without hassle, but will also get added functionality as Resolve software develops. It has a tiny footprint and can…

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You can apply plugin effects to clips or channels. If you select a clip and drag the effect on it is available to adjust in the inspector by clicking on the effect tab. If you drag it on the channel strip, or select via the drop down menu, it applies to the whole channel (ie the whole of the track.) There are also a couple of special case effects…

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Here’s a simple YouTube guide to where to find the presets for Fairlight so you can transfer them to a new computer
https://www.youtube.com/watch?v=dtDlM7tYN9g&t=2s

You should also learn about how to backup your database. Rather than finding where Resolve hides it, you can go to the database and backup a copy to an external drive for safety and that can also go to another computer when upgrading.
https://www.youtube.com/watch?v=BRMnETznjXs

You need to back up you database and copy that to the external drive. It’s easy and you should have done that on your old machine or whenever you are doing software updates and as a general good practice.

Import that into the new Resolve PC and just open up your projects. Make sure the external drive is using the same drive letter as it was on the…

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I advise against ProRes as a mastering codec. It’s proprietary and uses QuickTime as its container. For master files I prefer DNxHQX 10 bit or DNx444 12 bit and in an mxf container. These are non proprietary and cross platform codecs that we can all generate. If Apple made their codecs available for free to be cross platform to generate then I can…

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I would only ever use stereo or mono. Spatial will apply some proprietary phase attributes and if you want to use that in a professional edit, you never want to mix that content in with regular stereo and mono material.

Gamma shifts on playback are very often a factor of the playback software. I would not export a file as a .mov as quicktime is not a good file wrapper. Check the render file back in Resolve to see if there really is a shift between the timeline and the render. So render your file as .mp4 .

Do not use Quicktime player. I never use it and it is…

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Have you tracked the power window? Did you put a second dynamic keyframe where you want to change the grade in the power window? It’s a bit hard trying to guess what you are doing and why it seems to be working strangely.

It sounds like you are set to use a remote grade not local. If you don’t want a shot grade to appear on shots later in the timeline then this may be what you are dealing with.

This vid explains it https://www.youtube.com/watch?v=eBXrl5SGc6k

“It’s interesting to learn that the software upgrades have the new chips in mind, I suppose I better go shopping for a new Mac”

Resolve dev for versions 18 & 19 have definitely been favoring the M chips including the iPad Pro.

I’d also add that you should set the preferences in Resolve to only use the AMD GPU, not both as there is a huge mismatch. It might just be on auto so try manually setting for just the one GPU

If you are using 4k or bigger footage, 8gig of VRAM is not enough. If it is getting worse as the computer heats up, then I suspect it is a hardware issue with the MBP which unfortunately have a bit of a reputation for having overheating issues.

You will get a lot better all round performance from an M chip Mac laptop including heat management and…

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I would guess your GPU is not able to cope, which may be lack of VRAM, or perhaps it is CPU and codec related. What are your system specs and what are the specs of your footage.

If the clips are in the timeline then select, unlink and then select & delete the empty tracks. Before you edit you should be able to select the Sony clips, right mouse and select clip attributes and just select the one track you need. This won’t work if you are selecting clips that have different attributes. So make sure you are selecting just…

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And if you aren’t hearing them all when they are on separate tracks then you need to check clip level, track level and routing

Clip stacking on a track works by only playing the top layer. This is normal. The idea is to keep layers underneath without deleting them and to also be able to cross fade between the top layer and the layer immediately underneath. It’s a great way to edit dialog and music without splitting over a whole lot of tracks.

If you want to hear all the…

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I do post work that has been edited in FCPX and transfered to Resolve via fcpxml. Resolve translates this pretty well but you need to collapse all compounded clips like multicam. Also you can only export a timeline with each fcpxml so it doesn’t transfer a whole project. If you want to maintain your folder structure then before you import an xml,…

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It’s certainly possible and it’s easier if I just give you a YouTube link that shows this. https://www.youtube.com/shorts/fgXFiYtiCa8

I ditched Pr when it went subscription a long time ago. I’ve used Resolve since vers8 for grading. I’d not recommend Adobe for anything anymore. The subscription model is a no no but more importantly as an editing tool I feel it has fallen behind in many areas and editors who have switched to Resolve from Pr tell me Pr is so buggy. The grade and…

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Both FCP and Resolve need minimum specs to be able to manage big projects. Your laptop has enough RAM and the M1 chips are OK but your codec may be a handful for the chip and changing to Resolve may not make that much difference. Also I assume your media is all on an external drive and if you have a big drive, make sure it fast enough and has…

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I think Topaz wins because it is doing three basic things adaptively and dynamically in one pass. Upscale with sharpening, denoising and de-artifacting. Resolve can do most of that but the upscale, sharpen and denoise are separate plugin processes. For me the compression de-artifacting in Topaz is an important part of its secret sauce.

As well as the methods outlined in the Boris article, there are tracking options within Motion that also give greater control similar to using Mocha with the Boris plugin. I suggest searching for a YouTube tutorial. Try people like Casey Faris who is a whiz in Fusion and does excellent easy to follow tutorials

The Topaz files should have an added suffix. I replace the clips in the timeline by selecting the Topaz version in the media pool then right click on the matching old clip in the timeline and then selecting Conform lock with selected clip in media pool. This should mean the clip in the timeline will also show the correct new file name. I’m not…

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You can enable or disable features in the mixer view. Select the three dots at the top right of the mixer view and enable what you want

Can you tell the difference without a difference matte? Are you also taking into account things like frame blend, vs optical flow etc. I would hope both systems did their calculations based on timecode so the in frame for both should be identical.

I should add you might have to interrogate the xml from PP and the return xml from Resolve to see if…

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I would not trust a ten year old spinning drive over a new SSD. LaCie, for many, have not been as reliable as some other brands. Drive prices are so cheap these days that having a new drive is much cheaper than the consequences of a drive failure