Rosie Walunas
10
COW Coins
1
Solve Coin
Forum Replies Created
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Great. Thank you for such good clarification.
The only thing is that when I imported the XML it didn’t prompt me about which clips unless I already had the originals in the project, in which case it just relinked. Without the originals it just linked up to the low res proxies.
Oh well.
Thanks again for such great info.
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Thank you for getting back to me. I’m new to Resolve, obviously.
I didn’t realize that deselecting “automatically import media” would aid the relink. I did that and it worked. But that only seems to work when the XML is Imported into the same project that had the original transcodes – meaning the project that contains the original camera masters Imported to Resolve and the timelines used to export the clips to proxies. Is that the only way Resolve works?
Have you imported your original media into Resolve, or are you trying to get Resolve to find it on its own? I typically bring in the media before I import the xml (for me an aaf).
I just tried this – Importing the media into Resolve and then Importing the XML. It worked. Is the way it should be done if dailies were made from multiple projects?
Then import the aaf and deslect the box to automatically import media.
Resolve will then ask you where the media is, and you can point it to the bin where you just imported your raw clips.
If this doesn’t work, it might point to an issue with the original dailies not having proper reel information attached.
Resolve never prompted me about finding any clips. How could I make Resolve do this if I had to manually reconnect master clips/timelines to the camera raw?
When you bring in your xml, do the clips show a proper reel id that they are looking for?
I haven’t seen anything anywhere about a “reel id” in any of my tests. Where can I find this and edit the information?
Thanks kindly.
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I am looking as well. Ideally for a massive non-ficiotn project, you want file names to be named based off their card folder name, like “DATE_LOCATION/NAME_CAMERA_CARD#_clips-original-unique-name.” It’s possible to set this up before hand for camera formats like DSLRs and GoPros, but doesn’t seem tone anything for cameras with more complex cards structures, such as C300 for example.
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Found a way to customize this “reveal in project.”
Keyboard Shortcuts > Reveal in Project
You could use a keystroke like Shift+Command+F.
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I’ve been searching to see if this is possible. It would really, really speed things up!
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Actually none of the other options functioned at all. Choosing them simply cropped off the sides of my main image. But like I said cropping around my displacement map fixed it and now the displacement is reflected on the main image.
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Well, I figured it out.
The main picture was cropped to around the human figure. The displacement map included the displacement coloring in the middle of a massive black still image. Even thought the grayed map was aligned with the image properly, it wouldn’t work. To fix, I cropped the displacement map to be the same size as the cropped image of the human. Kind of an announce that the whole still image has to be approximately the same size. I don’t understand why it wouldn’t function the same, because I literally just cropped the map.
Thanks all.
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No. And actually the rasterize column doesn’t have any boxes for checking off. It simply has no boxes, except on a nested comp that I turned off and I’m only using for reference, it’s not part of the picture.
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It’s a music cue. I suppose it could also sound like inside a car versus outside a car, or music behind a closed door versus when the door is open. Similar to that cloudy muffle sound. Thank you!
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I’ve tried that EQ effect and adjusting the low pass. Also the stand alone Low Pass. It doesn’t seem to do much. I tried Pitch and it kind of gets it because it sort of becomes a lower tone, but it also sounds crummy and crackly. If anyone has other ideas, that would be swell. Thanks.