Michael Gissing
195
COW Coins
190
DaVinci Coins
3
Solve Coins
Forum Replies Created
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If you are much faster editing on an app that renders slightly slower, it doesn’t matter. It might have been interesting to add Resolve in that render mix. I’d also appreciate adding the cost of computers, drives & GPU to these comparisons. My current Win machine (AMD threadripper 24 core, RTX2080ti combo) seems to be limited mostly by drive speed on renders, not the CPU/GPU/software. I doubt I could do as well for the same price with Apple hardware, although I am really interested in their ARM chips.
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I normally ask the editor to provide an output of their timeline to see what the correct shot is and when you have to manually relink, you select the shot in the media pool then right click on the timeline clip and select Conform Lock with Media Pool Clip. Put the output on the top track and set opacity to 50%. That way you can see when the correct clip is force linked as the shot under the reference will line up. It helps to set the view in the media pool to thumbnails and make them big so you can see shots better to manually match.
There is nothing that can be set in FCPX or Resolve when clip names are repeated and different from the original media. This is a workflow error and it is the responsibility of the editor to fix this sort of mistake prior to editing.
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That camera is a bit of a disaster because with each card the camera resets and duplicates the same file names, usually something like C0001, C0002 etc. This is a problem, especially when the editor renames files in the timeline. File name duplication and renaming are the two best ways to stuff up an xml transfer between any NLE’s. One workaround is to import the media into Resolve first. Then get the editor to sit and manually relink the shots. The timecode values will be correct so it is a matter of finding the right shots. That way the editor will perhaps realise the importance of unique file names and do any file renaming before editing commences.
I’m afraid it will be a manual mess. This is not the fault of Resolve. It’s a fundamental NLE workflow mistake
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The up down arrows on my keyboard take me to previous/next events. It is the default if you are set to the Resolve keyboard. In Resolve you can also set that to go to next fade start/ end as well as clip boundary. Open up the Keyboard Customisation and click on those keys. It will take you to the description of what each key does. You can setup any sort of customisation.
If you get hung up on what names Resolve uses, at least they have much more in common with Pr than FCPX. Resolve has a category of ‘Next’ which includes ‘Clip’, ‘Gap’, ‘Keyframe’ and ‘Marker’. They are subsets of ‘Next’ so the words you need are actually all there.
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On the Color page you can open all the LUTs and display them in list mode or thumbnail. I use two screens so for me the LUTs are on the second screen at the top left. If you have a node selected you can simply go down the list and double click on a LUT and it will load into the node. I usually have my most common LUTs added into the favourite folder so it is easy to find and apply this way. I would like it if it preview applied by just using the mouse hover like many of the effects and transitions or the fonts.
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Sorry Sacha, I don’t use the multicam function. The Blackmagic forum is probably better to answer this. I can’t imagine why you are having this problem. Where in the pipeline are you applying the resizing?
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Resolve can read Sony codecs. I find Sony file structures a nightmare and depending on the codec you choose internally the media can be in different folders. Have you checked all the folders in Resolve? On the Media page you will see the media when the correct folder is selected. Also you don’t say which version of Resolve you are using as an older version may not in fact be able to read some codecs. The latest version, 17.2 reads so many more codecs than older versions, it might be worth upgrading if you are on an older version
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It would be best to contact BM directly about the cDNG issue. Check their forum too as it is a better place to get feedback on these issues. It might be a bug. V17.2 is a great update but I don’t know if that will make any difference.
Is there anything different in the color management between projects that the saved powergrade is changing. Check the settings as a color managed timeline will behave differently to a non managed timeline.
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You need to check that the project & timeline rate are 23.976. The AAF might be being loaded at the wrong rate in ProTools.
I also know there have been issues with AAF to ProTools. Version 16 might still have those problems. Version 17.2 is a really great update.
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I also use Shutter Encoder for some background renders while I keep going in Resolve. They also have a Linux version which I run on my laptop.
https://www.shutterencoder.com/en/#downloads