[Michael Stirling]

If this was flagged more obviously it’s actually a nice feature

[Michael Stirling]

No worries Toby – your beer is still safe 😉

I would have probably given up if you hadn’t have seemed so certain that you done it

Cheers

Mike

[Michael Stirling]

Hi

Here is a workflow that I’ve tested and succeeded on the above test session and another test session with 2 source clips cut into 6 with 3 grading versions each.

In original project (a copy for safety of course) Batch Copy the session timeline you wish to reconform then Save

In a new project Load new conform, Batch Unlink then in the Conform page Color Trace from the original Project and Session.

It’s working so far – going to test some reel world projects now

M

[Michael Stirling]

I can’t make that work,

everything has the last grade of that source clip

Here’s my test method:

1 clip cut into 6 parts A,B,C,D,E,F as the conform.
I create 3 grading versions and apply them like so:
A1 B2 C3 D1 E2 F3

The reconform is the same clip edited in a timeline like so A, D, B, E, C, F
So if the correct grade versions could pass from one session to the other the same grade version would now be next to each other 1, 1, 2, 2, 3, 3

But the timeline comes in all with grade 1. Any other method of using Batch just gives all with grade 3 as that was the last one applied in the old session.

M

[Michael Stirling]

Weird – You are describing a method I use most days with total success.

The only thing i can see in your method is you say that in the 2nd instance you move the mask then add a dynamic mark, it should be the other way round – Add the Dynamic mark to the first frame of the new instance before moving the window

M

[Michael Stirling]

Hi Patrick,

You are right – sorry I was over enthusiast and had just applied it too my real world problem of a whole reel of a feature which seemed to look like a solution. As I’m up against it timewise I didn’t stop to test as rigourously as I should.

After your post I’ve done more testing in a much more simple session and have a better understanding of what happens – the method outlined above will as you say apply the last grade version selected of any given source clip to all instances of that source clip. It is clear why this happens as it is copying the highlighted remote grade, it just isn’t particularly useful.

M

[Michael Stirling]

Thank you Toby

The drinks are definitely on me!

It works a treat and is actually more effective than you said because all the source clip links remain

Workflow:

Session A (old conform)- batch copy
Session B (reconform) – batch unlink, batch link

err, that’s it (you can batch link session A if you like to it’s back to ‘normal’)

We should have a London Colourists social and I could buy yu that pint. In the meantime I’m going to bump this solution to the top

Thanks,
Michael

[Michael Stirling]

The nightmare reconform I am embarking on today (mention in another thread) would be to have grade versions ripple through from other cuts

I could see how this wouldn’t help in all circumstances (ie. when you are versioning an ad for example) so suggest this:

Right click on a Session in the timeline management window/gives option to reconform this session/ xml loader dialog – loads a new session with grading decisions intact.

Oh, and render sound of course 🙂

Michael

[Michael Stirling]

Arrgh!

I was just about to ask this very question. I have a reconform of a feature to do and this means Da Vinci Resolve doesn’t do reconforms.

So this is the workflow:

click conform page
load old reel
click color page
find clip
note version
click conform page
load new reel
click color page
find clip
check version

repeat 1500 times

Anyone have a workround that’s even a click per cycle quickly please tell me and i might get to see my family by Easter

~M

[Michael Stirling]

presumably you would calibrate a monitor run from the intensity pro over HDMI the same way as any other non broadcast monitor – with a probe and some overly expensive calibration software to profile and create a LUT

~M