[Oliver Peters]

Thanks Marc. Yes, these will work, however, I was hoping to avoid the modifier+drag method, but I guess there is no other option. As far as reference clip, I was only using this as an example. In the actual situation, I’m inserting prebuilt titles, which happen to have reference audio. Thanks.

I wonder if any of this will be changed when R16 hits the release build.

– Oliver

Oliver Peters – oliverpeters.com

[Oliver Peters]

In my case, I have 1 audio track on the timeline the contains the final mixed track and it’s locked. V1 is the graded original footage. When I go to insert a clip onto V2 (for example a reference export from the offline editor), it also defaults to creating an additional, audio track A2 and edit audio to it along with the video edit to V2. This means I have to perform the edit and then select and delete the new audio clip. I think at that point, with a new, blank A2, it will perform a video-only edits once I set the target track accordingly. As far as I can tell.

– Oliver

Oliver Peters – oliverpeters.com

[Oliver Peters]

You are describing closed caption files, not open captions, aka subtitles. Are closed captions what you want? If so, they have very limited formatting options, which vary with the file type (eg SRT, SCC, etc). The way the captions are displayed is also very dependent on the player – your TV, QT Player, VLC, Switch, etc. I don’t think any of these options include shadows or borders.

If you want to turn your .itt file into subtitles, you will need a third-party app, such as one of these from Spherico:

https://www.spherico.com/filmtools/

– Oliver

Oliver Peters – oliverpeters.com

[Oliver Peters]

[Bill Davis] “license X’s magnetic approach, … Not holding my breath.”

Thanks, Bill. Somehow I don’t think Grant has the mindset to license anything ☺

– Oliver

Oliver Peters – oliverpeters.com

[Oliver Peters]

I think there’s a bit of a misconception about just how fast BMD’s development of Resolve really is. Yes, they do tons of updates, but many of these are really just little tweaks. A few reasons for this perception, IMHO.

1) There’s more development (and therefore updates) required, because of the work necessary to clean up code and functionality issues created by integrating diverse audio and effects software acquired from other companies.

2) There’s also a bit of catch-up, in the sense that they developed and integrated their own RAW codec (same as FCPX did with ProRes RAW).

3) Finally, BMD releases early public betas, which go through frequent updates, making it appear that there is more activity than other companies go through. In fact, other companies do the same, just not in public.

Remember that BMD is not afraid to completely upset things either. Look at the evolution of its audio tools from the few versions before Fairlight to now (after Fairlight). It’s been a complete rework (and therefore obsolescence of earlier versions) in how you deal with audio mixing and plug-ins within Resolve.

– Oliver

Oliver Peters – oliverpeters.com

[Oliver Peters]

[Mark Smith] “Don’t films generally have some difficulty coming up with one good ending?”

Not in my experience. Depends on the writer for starters.

– Oliver

Oliver Peters – oliverpeters.com

[Oliver Peters]

[Bill Davis] “And as to sound, the Logic plugins have always been a decent start, but I understand that those with traditional expectations like virtualized mixers, patch bays and bussing will find it’s current state wanting in many areas.”

I would recommend that FCPX users needing more in sound should add Logic Pro X to the toolkit. FCPXML transfers material and role information/organization quite well. Yes, it’s a roundtrip.

– Oliver

Oliver Peters – oliverpeters.com

[Oliver Peters]

[Erik Lindahl] “It sounds like this sums up some of the FCPX-head-aches. You need the app + a tool to get to a third party app to get sort of maybe the result you want.”

That’s generally the route Apple is taking overall and has, since at least FCPX – modularity. By not doing this function internally, they streamline the program’s code and can focus on the majority of features that “new media” producers want. I believe that’s their target user.

The second thing it does, is relieves them of any responsibility when a given feature doesn’t work 100% correctly. They don’t “own” the issue. Thus, they concentrate on FCPXML and then work behind-the-scenes with third-party developers to build the add-ons.

– Oliver

Oliver Peters – oliverpeters.com

[Oliver Peters]

[Erik Lindahl] “Looking at recent, fully freshed out RPG game today, we’re talking in the lines of 50-100 actors with more than 1 million words of dialogue, all recorded.”

Even in a so-called interactive show, the creative and production team still has to flesh out and create all of the possible scenarios. So the writers are developing multiple endings rather than just one. However, that’s still not all of the possible ending scenarios an audience might envision. Obviously, this becomes a budget factor, more so than in video games.

– Oliver

Oliver Peters – oliverpeters.com

[Oliver Peters]

Fad. Maybe. I would tend to agree. However, the more interesting discussion is how do you actually tackle this from a production and editing standpoint.

– Oliver

Oliver Peters – oliverpeters.com