Michael Gissing
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COW Coins
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DaVinci Coins
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Solve Coins
Forum Replies Created
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If you don’t have a 5.1 monitoring system and a way to get the 6 discreet channels out of Resolve, then you can’t really know what your 5.1 mix is sounding like. I use the Fairlight interface feeding a Yamaha hifi amp with discreet analog inputs to a 5.1 speaker system. Not super expensive but sufficient to be able to mix reliably for cinema and home cinema 5.1.
I have mixed a 22.2 stream before and had it monitoring via a 5.1 speaker array so it is possible to map to less speakers but if you want to hear properly you will need a 5.1 montioring solution
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I’ve not tried it and it is Mac software but this seems to be the best solution
https://www.rawconvertor.com/If you are on Windows and have Adobe Media Encoder you can get Apple’s plugin to do the file conversion to a suitable DNx codec https://support.apple.com/kb/dl2033?locale=en_US
My personal experience is that I have not seen ProRes RAW files in productions so I haven’t had to deal with this before but I am aware of how to work around if I ever get this codec
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I do not know how to get around the lack of backward compatibility with .drp files. As far as I know you cant open 18 projects in 16
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The database and project files are not backwards compatible. You can export an XML from a timeline and open it in an older version but it is not going to carry over all the information like grades
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The timeline adjustment node on the Color page is designed specifically to affect the whole timeline. The easiest way to affect the timeline but not title elements is to place an adjustment layer on a track between all your titles and the clips underneath. Apply the Halation effect to the adjustment layer and it will affect everything below the adjustment clip. This is the easiest way to create an affect across the whole timeline with the ability to exclude certain clips simply by repositioning them above that layer.
The other way which plays into my usual deliverables is to export a textless version and drop that into a new timeline and add all the text elements before outputing the texted version. The Halation is baked into the textless and the text is unaffected.
Third method is to edit your textless timeline into a new timeline, with the text then added. This way you can go back to the original timeline and any changes are then translated in the new timeline.
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There was something about panel connectivity with the version 18 releases. Perhaps read the release notes and if it works for you to update the software then version 18 has lots of improvements over version 17 as well as panel updates. Database will need a backup as version 18 does do a database update
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Not something I’ve experienced but using Fairlight automation has made me aware that you should never start a timeline at 00:00:00:00 and have a clip from that first frame. I always use a timeline that starts from 1hr or 10hrs and also leave a couple of seconds clear at the head before first frame. Old habit but maybe the issue is the automation on render is resetting itself to zero frame and then jumping on first frame to begin playback.
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Ideally any edit to tape requires genlock to both the tape machine & the Decklink card.
The last time I did anything to tape was many years ago and I didn’t edit to tape, Just fed the signal from the Decklink to the tape (Digi Beta or HDCam), set ext timecode on the deck and hit crash record and then played the timeline which carried the timeline timecode embedded in the SDI signal.
My advice would be to render a finished file and try that from a timeline or if you need multiple audio track use the separate Decklink Media Express software instead of Resolve> Deliver. Actually I’m pretty sure I used Media Express to do the job
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Shot detection has been a feature of Resolve or a long time. I’ve used it a few times and it usually does an excellent job with maybe a couple of tricky shots to be manually adjusted. Highly recommend going to the manual and following the steps. There may be someone who covers this on YouTube but I did it with the manual’s help. There is also a way to auto split a file back into individual shots using an EDL if you have an EDL of the original timeline.
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Although it’s hard to remember specific bugs from three years ago, I personally never ask for an AAF from Pr. OMF actually works for me all the time as the format hasn’t been developed for over 20 years so it is robust.
Perhaps an XML from Pr with original media might work better but for me an OMF is rock solid. I think you might like version 18.1 Everything about the Fairlight page has improved enormously since version 16. Basically everything has improved on all the other pages too.
As fo extra tracks, I sometimes find editors just repeat the same tracks to make things louder. Half the job for me is cleaning up and deleting repeats, guide, ltc etc etc. So it might be the editor? Worth asking how many tracks they have clips on