[Roman Hankewycz]

Hey John!

roman hankewycz
harbor picture company // colorist

[Roman Hankewycz]

I agree with you.
Speaking with Dwaine, that is his recommendation too. When you delete a still from within a project it deletes the DPX file from your storage, however it leaves the directory intact. Not a big deal.
The only pain with this system is that you need to load each project to delete its stills, and I have a lot of old projects…
It’s good to know though. I guess I’ll include this in my archiving protocol, to delete the stills for the job after I’ve exported a version for safe keeping.

roman hankewycz
harbor picture company // colorist

[Roman Hankewycz]

Yup, the “trim RED clips” feature in resolve 9 is one of the most powerful features in the update but that function doesn’t work with Arri RAW files. Also the “copy” command doesn’t work with Arri RAW files.

Can’t find a solution for this anywhere which is very surprising.

Thanks,

roman hankewycz
harbor picture company // colorist

[Roman Hankewycz]

you’re right, that works as a work around, but that doesn’t compare to a proper solution. All I’m saying is that there’s room for improvement.

roman hankewycz
harbor picture company // colorist

[Roman Hankewycz]

This is something that I’ve been hoping for for a while. In Lustre you’re able to track an area once and apply the tracking information to multiple masks. This functionality in conjunction with an improved keyframe editor would really elevate the usability of Resolve.

roman hankewycz
harbor picture company // colorist

[Roman Hankewycz]

I still haven’t heard back from BMD on this. Perhaps it’s not possible.

It should be possible to concatenate two defined ranges of the file name to create a single reel name.

roman hankewycz
harbor picture company // colorist

[Roman Hankewycz]

I appreciate the responses although they don’t answer the question.

To give some background. The Alexa media does not have the reel information in the header because it’s no longer Alexa media, it’s been consolidated by a 3rd party software. I have a FCP project that refers to clips with the proper, original reel names. I’d like to get Resolve to “see” the intended reel names by extracting them from the file name.

So back to my original question.

The file path is: 00303_r2/A024C001_110922_R1PQ_V1-0007.mov

I need the reel name to be: A024R1PQ

There must be an additive character that can be used in the pattern so I could define A024 and R1PQ and have them work together as the reel name.

roman hankewycz
harbor picture company // colorist

[Roman Hankewycz]

Juan,
Lets start with a simple scenario.
I have a shot that is used multiple times in the sequence. When grading in resolve I use versions to give each instance of the shot a different grade.

If I were round-tripping to FCP, I would render the session and export an XML. That XML references the newly created, graded media. Resolve is free to name the multiple graded files with a unique identifier and the XML knows where each file needs to go in the sequence. In FCP I import the XML and the job’s done. No manual relinking.

In the case of the Avid round-trip this is not possible, because there’s no way for Resolve to tell Avid “Hey, I know you sent me one master clip for these 5 shots, but I’m sending you back 5 individual shots in return. Here’s where each of them should go.” From what I know about the Avid round-trip process the media you render out has to match the media you send in otherwise it doesn’t work. In addition, you have to manually change tape names in Avid so that your original media and graded media share tape names. The tape renaming thing is ridiculous when you’re dealing with hundreds of clips, not to mention that changing tape names is not something to be taken lightly.

So to get back to the original question. I’m interested in how you deal with multiple shots in a session that have the same master clip.

roman hankewycz
harbor picture company // colorist

[Roman Hankewycz]

I’ve spoken to many people about Avid/Resolve workflow and when I ask the questions I’m interested in I keep getting the same blank faces.

The tutorial that was listed earlier in the thread is nice but it isn’t applicable to real-world situations. When do you ever find yourself in a situation where all the media is from one source, each clip is used only once, and you can freely change tape names? The stuff I work on is never as neat as the situation proposed in the tutorial or any workflow description I’ve come across. Projects have various source media; some with tape names, some without. Sometimes the edit changes during grade, and you need those changes to be sent back to Avid. The same clips are used multiple times throughout the sequence and they need different grades.

I still haven’t found a good way of getting graded material to travel back to Avid as cleanly as in the FCP/Resolve workflow. If anyone has any real insight I’d love to hear it.

roman hankewycz
harbor picture company // colorist

[Roman Hankewycz]

It’s a puzzling issue. I had to proceed with the project without using the reference gallery but since finishing the job I’ve done a lot of troubleshooting to no avail. The problem is restricted only to this project and it’s copies. New projects, other existing projects and early versions of the problem project, all work fine.

I checked my still directory and it hasn’t changed from the beginning.

I reached out to BMD and will report when I hear back.

Thanks,

roman hankewycz
harbor picture company // colorist