[Robert Due]

By the way, I mean the software version of the vectorscope. The one within Resolve. Sorry if that sounded vague.

Robert Due
Editor / Colorist
INDEPENDENT EDIT

[Robert Due]

Thanks Marcus,

Make sure you upgrade to the current version of Resolve after reinstalling from the disc. Your database won’t be recognized. I thought I lost everything, but when I upgraded to 7.1.1, all my old projects were there again – unharmed.

Robert Due
Editor / Colorist
INDEPENDENT EDIT

[Robert Due]

I made this same mistake. I have one question though, will reinstalling Resolve erase my existing projects / database? I need to go back to the recommended drivers and don’t want to lose everything. I can of course back up all the projects. That is done via the config page (Export +) right?

Robert Due
Editor / Colorist
INDEPENDENT EDIT

[Robert Due]

I ran across this recently and took the EDL into text edit and removed the _M and .mov in each event. (There is a way to do this automatically, but it’s a bit long to explain here).

The EDL worked perfectly in Resolve. Reconnected to the R3D file!

Robert Due
Editor / Colorist
INDEPENDENT EDIT

[Robert Due]

I am about to rearrange to your new setup. Currently, I have the client sitting directly behind me.

I wonder how the communication will be when they are in front of me. Especially when we start discussing certain areas of a scene that needs to be addressed. I am so used to turning around and pointing to my computer monitors saying, “You mean right here?” or “I changed this”.

I assume the client will just point to the grading monitor (and probably put a lot of fingerprints on my Panansonic BT-LH2600W). Just wondering what others come across working this way.

Robert Due
Editor / Colorist
INDEPENDENT EDIT

[Robert Due]

Make sure you are not counting the .thm file at the finder level as one of your total.

Robert Due
Editor / Colorist
INDEPENDENT EDIT

[Robert Due]

I am sure there are many ways to do this, but one way is to create a new bin. Then in the bin that you want to figure how many clips you have, select all and then drag them to the new bin you just created. Don’t copy them, but just hover over the bin and you will see how many clips you are about to move. You have to be in List view for this to work.

Hope that helps.

Robert Due
Editor / Colorist
INDEPENDENT EDIT

[Robert Due]

The files were exported out of the AVID as ProRes HQ 1080i @ 29.97. (Avid can play and create ProRes files now)

I created a new Color project and imported them individually. This is where the one frame difference begins. The “description” of the file in the Import dialog gives the TRT as 1 frame shorter.

Robert Due
Editor / Colorist
INDEPENDENT EDIT

[Robert Due]

“…dig a little deeper.”

I appreciate your help, but literally I take the original clip from the Avid and the rendered clip from Color and import them in After Effects. The Avid clip is 3:14. The Color rendered file is 3:13. It has nothing to do with how it is on a time line. The file is SHORTER by one frame!

The same thing happens in QT Pro. Command “I” the files show the same results.

I give this to the Avid editor and he asks, “Why are all the renders one frame short?”

“I dunno?” doesn’t cut it.

Robert Due
Editor / Colorist
INDEPENDENT EDIT

[Robert Due]

Thanks for the response.

I am getting the TRT just from the duration column in FCP. And in Color, when I navigate to import the QT, it’s showing up as 1 frame short as well.

I am wondering what is happening between the Avid side and the FCP side. Does that one frame get cut off? Repeated?

Robert Due
Editor / Colorist
INDEPENDENT EDIT