[Michael Gissing]

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

[Michael Gissing]

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 1984. I’ve been a beta and sometimes alpha tester for Yamaha, Sony, dSP and Fairlight with the developments of the first DAWs and non linear video. This change is different and I don’t agree it’s going to be the same as before where technology replaced jobs through efficiency and raw processing power. This time the creative process is directly threatened. Ironically we have had a couple of years where machine learning has vastly helped us with masking, audio noise reduction, denoising, upscaling etc.

I’m not interesting in just writing a prompt for generative AI to do the actual work. After nearly five decades in the industry, I know humans will not cost compete and the end result, whilst inferior to a human for a while, will be perfectly acceptable for the vast majority. There will still be niche work, just like vinyl, film and live performance has but I don’t see how this time it will just be a transition with business as usual.

[Michael Gissing]

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.

[Michael Gissing]

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.

[Michael Gissing]

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 be used with a laptop purely on battery via its usb c connectivity.

[Michael Gissing]

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 like dialog isolate, leveller etc that can be turned on on the channel strip.

[Michael Gissing]

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

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[Michael Gissing]

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

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[Michael Gissing]

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 old computer. You can always just open a project and it will tell you if media is offline and what the drive path was previously. Close Resolve, change the drive letter and reopen Resolve and it should all be connected

[Michael Gissing]

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 see why it might be useful as a delivery codec. But they aren’t and there is an internationally accepted better alternative with DNx.

ProRes4444 has given me grief in the past with gamma errors and there is no reason to use a codec with an Alpha channel for a master, so it’s a waste of data space.