Michael Tiemann
Forum Replies Created
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Actually, I’m not absolutely sure. I tried a variety of selections and de-selections, and looked very hard at the Sequence menu, hoping to find a menu item like “Rending the f-ing sequence”, to no avail. Nowhere in the main menu did it offer anything like “Render the sequence (for real)” as compared to “Just render whatever is selected and hope that’s what the user expected”. Instead, it’s just “Export media” which says NOTHING at all about what, in fact, the source for the export is.
Manifold Recording
Pittsboro, NC
https://manifoldrecording.com/ -
I think I know the answer, because I was bit by the exact same problem a few weeks ago. Resolve currently has some very idiosyncratic concepts about its XML workflow. If you want your XML file to reflect your exported files, YOU HAVE TO EXPORT YOUR DIGIAL FILES AND XML AT THE SAME TIME.
But it gets worse. The only way to do that simultaneous export is to pick a special export option (either one-way or round trip). You can modify parameters in that special export option (such as destination, resolution, etc), but YOU CANNOT SAVE THE MODIFIED EXPORT PARAMETERS AS A PRESET TO USE LATER. You have to start from the magic export preset that Resolve gives you at the start.
Your XML file will magically appear as part of your file exports, and that’s what you then need to import back into your workflow.
I think they’ve made some horrible UX decisions with respect to the XML workflow, and I hope that my comments become obsolete in a near-term upgrade. But in the mean time, know that Resolve does not treat XML as a general feature, but rather as a very special case. One which is quite fragile, and which fails catastrophically the instant you try to do any kind of editing to the XML file at all. Which, of course, defeats the whole purpose of an eXtensible Markup Language.
Manifold Recording
Pittsboro, NC
https://manifoldrecording.com/ -
Mark, we agree. My project is a documentary about how a record is being made inside a high-end studio. The studio’s digital infrastructure is all 96K, so I’m using the studio’s digital files as replacement audio for what I captured from the cameras. As everybody knows, the Blackmagic Cinema Camera’s audio capture capabilities (even when fed line-level signals) is so horribly bad that it is only useable as a guide track for synchronizing audio. If those cameras could capture a clean analog feed and not wreck it with a terrible preamp and inexcusable EQ and noise, then I could just feed the camera analog and be done with it. But since I cannot, I’m stuck with the digital files, hence my predicament.
I’m pretty happey with the BMCC video quality (much better than my other cameras costing less than $10K each), and Resolve does great things with BMD Film captures. But its been a real slog for me dealing with the gaps between what Resolve can do, should do, and will do in a workflow that requires multicamera editing, 96K audio, and AVCHD decoding. Which is why Premiere is now the 80% of my 80/20 workflow, rather than the 20% I anticipated when I started.
Manifold Recording
Pittsboro, NC
https://manifoldrecording.com/P.S. Here are two excerpts of some video showing the environment:
https://www.youtube.com/watch?v=HQeNrqrBeiA
https://www.youtube.com/watch?v=T10Aztlu_1cSome contents or functionalities here are not available due to your cookie preferences!This happens because the functionality/content marked as “Google Youtube” uses cookies that you choosed to keep disabled. In order to view this content or use this functionality, please enable cookies: click here to open your cookie preferences.
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I used Adobe Audition to batch-resample all my files (which are music files coming from a high-end audio project). But I am still so shell-shocked that Resolve chooses to crash with no message rather than protest that I’m doing basic grading in Resolve and finishing in Premiere. I simply don’t want to find myself trapped in some rabbit hole where I’ve invested all kinds of time in Resolve that I cannot then port over to Premiere. If Resolve were better behaved about what it didn’t like, I would not fear pushing its boundaries.
Manifold Recording
Pittsboro, NC
https://manifoldrecording.com/ -
I am also having problems…importing 96K audio files. I thought Resolve was more forgiving than that…
Manifold Recording
Pittsboro, NC
https://manifoldrecording.com/ -
Same issue. Some problems just don’t get a lot of love…
Manifold Recording
Pittsboro, NC
https://manifoldrecording.com/ -
I would also like to confirm that Resolve 10.0.2.011 (Dec 5 2013) -> Premiere Pro CC round-trip is broken. Here’s what I have found:
I’ve made some further progress on this and have learned the following:
Adobe Premiere Pro has this annoying “feature” (many call it a bug) that when exporting to XML, if a project’s sequence is selected, it won’t export metadata. However, if nothing is selected in the project (i.e., the whole project, not just the main sequence) is exported then it does. Except for three additional problems…
1. DaVinci Resolve does not honor the exporting of metadata when the initial project has these fields filled in. Thus it is *entirely* dependent on the program at the other end of the round trip to magically populate this metadata according to what Resolve is expecting. If Resolve did export such metadata, then programs like Premiere Pro would ingest it, leave it alone, and it could be re-exported. But it doesn’t, so that metadata has to be generated downstream. That’s a Resolve bug as far as I’m concerned.
2. Premiere Pro has no easy way of generating metadata downstream. It is possible to use the Metadata Window to copy the filename to the “Tape Name” (in XML, ) field. But that’s a pain when one has 20+ clips in a project. And it doesn’t entirely work…
3. Even when the clip file contains both audio and video, it’s written in XML as two entirely separate components: video and audio. The audio portion seems to have no way to communicate it’s info to Resolve, or Resolve is flat-out ignoring it. It’s lucky that typically in a multicam project, there’s just one long audio file across a large number of camera cuts, meaning that it’s feasible to manually conform the audio track to its corresponding file in the original media bin. But it’s damn annoying that after doing so many other things to get the video right, the audio bit cannot also work.
Looking at the totality of this disconnect, I would say that on balance, it’s Resolve that is the worse actor in this comedy of errors. It is annoying that Premiere Pro won’t export metadata except as a “whole project”. But it is worse that Resolve won’t emit its own version of that metadata that it already knows ahead of time. And it’s a shame that Resolve cannot offer a saving throw by applying the Reel Name logic that’s part of the Master Project (Conform) settings to clips that don’t otherwise set Reel Name when they are imported.
Hopefully Blackmagic will fix Resolve soon.
Manifold Recording
Pittsboro, NC
https://manifoldrecording.com/ -
I have not yet found a work-around for making Media Encoder work properly on my new 2013 iMac running Mavericks. Instead I see infinite encoding times and/or the spinning beachball. AME seems to wedge the Mac so hard that it cannot shut down (gray screen, gray spinning cursor, but never actually shuts down). After a few power cycles, I’m about to give up on AME and give FCP another chance.
Manifold Recording
Pittsboro, NC
https://manifoldrecording.com/ -
Axel, thanks for your offer of help! I’ve left the studio for the day so cannot check the solution you provided, but if I can have a color correction window open and the multi-cam viewer, and changes I made in the color correction (or gamma correction) window is reflected in the multicam viewer at the same time, I’m a happy camper.
(And if I have to context switch between gamma correction and the multicam viewer every time I want to see the effect of a single unit change, not so happy…)
Manifold Recording
Pittsboro, NC
https://manifoldrecording.com/ -
Well I’ve just spend the past four days getting used to Adobe Premier. It has its problems (its multi-camera design is very non-intuitive, and the tutorials from around the internet basically paper over the fact that once you commit a source to multicam (from the project bin) you cannot apply effects, which is just the height of stupidity), but never once did it crash.
I’d love to get some advice on diagnosing what’s wrong with FCPX. But for all that I’ve sent probably 20 crash reports to Apple, never once did any engineer respond with any offer of assistance (or consolation).
Manifold Recording
Pittsboro, NC
https://manifoldrecording.com/