Michael Gissing
195
COW Coins
190
DaVinci Coins
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Solve Coins
Forum Replies Created
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Older versions did not handle mixed frame rates in the same project. Also big red flag having audio set to 32khz not 48khz. I don’t know how this is possible but the sample rate might be an issue to duration as well. Seems like you have a few variables that make it hard to guess the nature of the problem
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The audio in BM cameras is actually very good. I have the option when shooting to use an external Sound Devices recorder but usually for interviews I go straight in the camera as it sounds almost as good. Tiny improvement with the external pre amps but not enough to worry me on dialog.
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Clip Attribute under the video tab select 25fps. It will slow the clip down. If it has to play at 30fps then try optical flow
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I’m sure that was Joseph’s sage advice and I would concur with that too.
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It should be possible to get the audio straight into the camera. That would solve so many issues. Also Fairlight in Resolve is a much better place to do all your audio post.
I only see one reason to not stay in Resolve and that is keying. Are you saying you can’t get a decent key in Fusion or are you trying to do it on the Color page or with an OFX plugin like Boris CC? I don’t key much so it’s not an area I am able to offer that much advice but I do know Fusion is often used for that.
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On the Color page it is possible to add a mask to a node, track the mask and correct inside the mask. Then make an Outside node which carries the tracked mask but allows grading outside the previous node. This is how I would approach the problem, not creating duplicate clips on tracks. It’s the same thing but neater if you are just grading. It also means any adjustment to the mask in the Inside node is carried to the Outside node automatically. This also makes it simple to copy that grade to other shots with similar content without having to duplicate clips and remember which layer needs which grade.
The idea of creating lots of duplicate clips on tracks is based on the limitation of grading in Pr. It is worth reading up on the different node types in Resolve.
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Thanks Oliver.
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Brings back memories of my early days in telecine at Channel Ten in Sydney. Show supers on a custom built camera/ card system using Letraset into a ‘Cox Box’ which made it high contrast and could add colors based on luma. Alternatively there was a Rank and Marconi slide telecine that was used to live switch end credit cards. The Marconi always worked perfectly on the rehearsal and always jammed live on air. The most amazing thing was the disk recorder that cost the same as a three bedroom house, spun a heavy platter which if unbalanced would potential shake itself to destruction, taking out a concrete wall or two in the process. All for less than a minute of footage to be slo mo’d or freeze framed.
I remember when Aston & Chryron started to replace these devices but I had moved into the News Room where we still shot 16mm film and edited on Steenbecks. Just before I transferred departments the first 1″ Sony machines arrived and before I left the News Room BVU recorders tethered to the power hungry RCA TK-76 cameras. Awful to use and crap pictures. It’s a wonder video made it to eventually crush film.
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Thanks Oliver. It will be interesting to see where the M1 Resolve software fork goes, given the GPU preference. Meanwhile does this make an eGPU with this Mac mini a serious option for a small portable system?
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Do you want the mix or the mixer setup as a preset? Presets are certainly possible in version 16 onwards. A simple cheat would be to duplicate your timeline, delete all and then copy paste from another timeline into the now empty timeline. The track layout, mixer settings and automation will be therefore duplicated with the other timeline