[Michael Stirling]

I’m building a ipad keyboard shortcut project in keypad at the moment and have most shortcuts working.
Which ones aren’t working for you?

Are you on OSX? and own a ipad? I’ll send you this keypad project if you like – I’m going to share it when it’s done anyway.

M

[Michael Stirling]

Seems to me that if it’s a cinema theatre they would have a standard way of displaying provided (at least HD) content. Why wouldn’t you just give them your film in the format they require?

M

[Michael Stirling]

Is all the media in the pool or are you asking Resolve to locate it?
Also have you tried going oldschool EDL per track? – if anything at least you’ll be able see in textedit that FCP is outputting the correct TC.

[Michael Stirling]

Hi Jake,

Thanks for your advice above…

It was my belief that a fresh project with the trimmed media set achieved the same thing as a reconform from bin within a project. However, you are right – you suggested something and I didn’t try it before replying.

I have now tried a ‘reconform from bin’ and for me it does behave this way. The conform links to the new media but shots which were originally from the same source are no longer linked by the red icon and now have to be graded individually.

Have you successfully trimmed a project and retained the color links in a remote grades timeline?

[Michael Stirling]

Hi Jake,

My workflow was:
Conform from an xml of each reel using media on the clients drive.
Red trim to my RAID.
Create a fresh project.
Conform the original XML using the media in the RED Trim folder on the RAID.

Everything went great but I no longer have any linked clips in Remote grading. By ‘linked’ I don’t mean linked to the media – that’s fine, I mean linked by the red icon in the color page that applies grades to clips from the same source.

If their is anything in the above workflow that could be altered to achieve this that would be great to know

Thanks
M

[Michael Stirling]

137 not 127

[Michael Stirling]

go to Color> output blanking > 1:2.35 in the menus at the top is the quickest way

This will give you a wide screen frame at almost the same as your RED (which is 1:2.33). The it will crop the Canon stuff to that ratio too when you resize to the full frame size. (the red too a tiny bit)

If it has to be 1:2.33 and NOT 1:2.35 go to the sizing menu at the bottom select output sizing from the dropdown on the right then select BLANKING on the left. Then blank out 137 from top and bottom

1:2.333 = 2048×878 1152-878/ 2 = 127

M

[Michael Stirling]

Sounds like you need to remote grade from a Master timeline first.
In 10 you need to create a Master when you start the project if you wish to grade this way, and you also have to select remote grading as local grades are now the default.

In the master timeline should be all you takes from the 1st frame (ie. the slate)- match all the slates by grading them as there is no color match function in Resolve like Speedgrade has.
Move to the edit timeline and select remote grading – all the grades from the Master will appear – copy remote grades to local (if you need to) and grade each shot from there.

M

[Michael Stirling]

I know Vegas is happy with DNxHD so that might be a way forward.

M

[Michael Stirling]

I’m doing a feature film review today and this has really made my day – might even make it home for dinner now.
It’s not even as complex as you thought as you don’t have to go to the deck control section.
Just enter in the in-point on the render page and then press shift i to jump to the TC.

Being on the wave I don’t have shot no. entry but would say that shot numbers do change (ie. if ‘drop in this extra title slate’ was your first review note it would blow that whole workflow)