[Tero Ahlfors]

There’s probably no questions about clock wipes because it’s in Premiere with the more universal name: radial wipe.

[Tero Ahlfors]

[Arve Hansen] “What can be the problem?”
[Arve Hansen] “I use 4K footage from DJI Mavic Air and Sony A7III in mp4.”

I’d recommend transcoding these to DNxHR.

[Tero Ahlfors]

Windows 7 is 9 years old and even Microsoft hasn’t supported it in three years. Maybe it’s time to move on.

[Tero Ahlfors]

[Laurent Fluttert] “Four days ago I made a DCP using Kaduku from within Resolve Studio on a mac. The result was not good, every few minutes there were glitches (most of the time green flashes), mostly accompanied by noises in the soundtrack.”

If it’s the Trashcan Mac Pro your GPUs are probably overheating.

[Tero Ahlfors]

In what way? You can change keyboard shortcuts. You can’t change functionality.

[Tero Ahlfors]

Resolve (and pretty much all other NLEs) won’t change the clip speed depending on the timeline. I think we have talked about this before but this is what’s happening:

If you, for example, had 50fps footage and you’re cutting that into a 25fps timeline then the program will drop every other frame. This is to keep it at the same duration. So if you want to cut in a second of 50fps footage it won’t turn into two seconds of 25fps footage when you insert it.

So in a timeline your 60fps footage is dropping a bunch of frames with a certain cadence to run it in 24fps with the same duration. If you want to run it in slow motion you can change the clip to run at 24fps in the clip attributes or slow it down in the timeline.

[Tero Ahlfors]

This depends completely on the stock footage agencies and their footage specifications.

[Tero Ahlfors]

I/O devices only output to standard resolutions and frame rates supported by the device. I think there was an option in the playback settings to up or downscale the signal if the display resolution doesn’t match. If you need to monitor in 50/60fps you’ll need to check that your I/O device supports that frame rate in the resolution you’re working in. So if you want to monitor 1920×1080 at 50fps but the device only supports 1280×720 at 50fps there will be no output.

I also doubt that your monitor can show interlaced footage correctly. I’d suggest getting a proper reference monitor. Like the Flanders Scientific AM-210.

[Tero Ahlfors]

Duplicate your footage above your footage. Let’s say that is track 2. Then generate a solid or black video and put it on track 3. Use a mask in the opacity tools to make an aspect ratio you want. Add a track matte key to the footage in track 2 and choose the matte as track 3. Now you can scale and blur and do whatever the second track and the footage on the first track will show trough in the shape of the mask you made.

[Tero Ahlfors]

You can either:

-Use a viewer LUT to set the viewer to show a gamma/gamut you can work in. This is only for viewing.
-Use a gamut node in the node tree

Note that the color tools in Fusion aren’t expecting linear so you might want to have a node to turn linear footage to sRGB, make a color correction node to do whatever you need, then add a node to turn it back to linear for further comping.