[Ola Haldor voll]

I’ve asked myself the same thing.

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Playeads? Talk to me! 🙂

[Ola Haldor voll]

For future questions about this, I’ll just post the solution.

I found out of it. From the product shots of either version of the panel, the reset buttons for the rotary knobs seem to be hidden behind.. the rotary knobs… So I never knew about that until I just placed my order for the grey version.

Hopefully I won’t miss them too much. The Resolve Menus and Controls document for JL Cooper doesn’t even mention them, so I guess they’re not even mapped.

[Ola Haldor voll]

Are you right-clicking in the timeline (to the right) or in the Timeline Management (to the left)?

The correct place to right-click is ON the timeline, so you get the popup menu where you can save EDL, add audio to the session etc.. In the bottom, you will have the menu item you’re looking for. 🙂

[Ola Haldor voll]

I seldom have issues with this. I had more problems with these kind of things in Color, but then again, the clients have developed new skills at the same time as me..

Would you mind posting an image of the problem shot of yours?

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I’d say: get the old version. Even though it will become out of stock, someone will always sell the previous model second hand. Go get it!

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Dan the Superman saves the day, yet again. 😉

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If you have speed changes in the FCP timeline, export the EDL, then these speed changes will be applied to the clip in Resolve too.

So if you import to FCP using an EDL with a setting for speed change (I’m not sure what it looks like in an EDL, but you might have to delete it..) it would apply a speed change to a clip that was already rendered with a speed change, thus making the clip a lot shorter than it should be. Right?

Clips with a red line above them is an indicator to you as the colorist that those clips are form the same source footage. So if you make an adjustment to one of them, it applies to them all. Easy workaround: add versions to the other clips. This makes Resolve treat them as individual clips.

There’s possibly other ways for doing that, but that’s what I’ve found so far and work with. That said, I like that they are treated as one clip. This means I can do the base grade on one of them, and once that’s done, I can go in and add a version, make vignettes and track them as I please for each shot.

[Ola Haldor voll]

We had the technical testing today, and it went very well. Almost plug-and-play.

I had my Mac Pro with DaVinci Resolve and Decklink card play a project with an rgb2xyz output LUT. Then the fun began with hooking it up to the projector.

There’s a lot of settings, so we spent about two hours understanding different settings before we got in range. We didn’t understand the Scope and the Widescreen settings on the Christie projector at first, so we made a grid in Photoshop and used it as a still through DaVinci.

When we figured out what the projector did in the two different settings, it was basically just a simple setting in the timeline/format output resolution, and we were up and running. Colors looked killer!

Happily, it looked very close to what I’ve been doing in my little suite with a Panasonic broadcast monitor.

Next step in the progress is to make a table so it’s possible to work with comfort for long sessions, and to have enough table space for a control surface.

[Ola Haldor voll]

I was thinking I’d apply the XYZ LUT that comes with Resolve and see how that goes. I have no clue how to get a new LUT like this.. hmm.. Crossing my fingers the calibrator at the cinema will have the tools to make one.