Vladimir Kucherov
Forum Replies Created
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First thing I usually do to troubleshoot EDL issues is to check out what the problem is. Basically it’s either the reel, timecode, or both that are off.
After you load your EDL, look on the conform page, lower left corner. It will show the EDL event as DaVinci reads it – so you can see the reel and TC that Resolve wants to find.
Then, find the clip in question in the media pool. Look at its reel name. Look at its timecode. Where is the mismatch?
Now, for any R3D + quicktime based workflow, Reel pattern */%R.* should work for anything where the EDL is generated with Reel from Filename. Essentially Resolve will look at your file, and use anything before the extention (the . ) as the reel.
I was surprised by this, but I just had to fix a timeline where a few shots were offline. The reel names matched, but timecode on the media pool clip was wrong. These were r3d files. I have no idea if its Resolve’s problem reading timecode or Final Cut’s – I will have to investigate when I have more time, but I fixed it by simply changing the Resolve mediapool timecode to what FCP thought it should be. Clips popped right up after that.
Manual replacements are possible but clunky (unless I am missing an easier way!). Essentially, you delete the missing clip, and insert a fresh one from the media pool into the hole, then use the slip tool and your reference offline to slip it into position. I would prefer if there was a way to cue up the clip prior to cutting it in but I haven’t seen how to do that yet.
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That does sound like a great workflow – but as far as I can tell you can’t media manage (ie, split) R3Ds.
Then, I look at the latest update to Monkey Extract and see “r3d” splitting under new features. Anyone have experience with this?
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That makes sense – I’ll go with that for this project I’m working on.
Thank you all for the help!
Btw, what’s the difference between just setting your project to say, 1080, or setting output formatting to 1080 and working with 2k. Or, as would be a more common example, what would the difference be between working in 1080 and then setting output to 480 for SD output, or just switching project to SD and then bcak?
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Hmm, you could just throw the bounced output file into FCP on top of his XML, and re-export from FCP with markers, I suppose. Everything should just line up.
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Just trying to figure out – what exactly is faster about the GUI? Things like switching between tabs, scopes, updating thumbnails?
Just want to get a sense of whether this speed is something I actually care about or not
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Yes, performance still beats Color, even when down to 2fps (and it’s a lot higher for 1080p sources)
The GPU isn’t the bottleneck on the system per-se. GPU on davinci only handles color processing, so you’ll only have performance gains if you have very complicated grades. The bottleneck on the 2008 mac pros is from my understanding CPU power and bus speeds, working to unpack and re-pack files as it goes.
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It works well enough but don’t really expect real time performance on much. DPX 1080p realtime will work with a good raid setup, and one-eighth rez r3ds will play in realtime.
Compressed formats (again, I’m assuming 1080p here), and quarter-rez r3d’s play at around 20-23.5 fps.
It can also trip up rendering 4k footage (like when you set your Red Debayer to full quality premium) – I basically have to throttle my machine to 2fps render so I don’t get errors.
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I don’t deal with interlaced stuff so I can’t comment on that, but as far as paths go, it was my impression that DaVinci doesn’t care where your footage is as long as it’s added to the media pool.
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If I remember we’re both on aging 2008 macs. I can just see Rohit’s next post – “please send us your logs of the crash”
What kind of zombies are you killing? I try to keep my coloring and my zombie killing separate – or at least on separate computers!
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For what it’s worth, I’ve rendered several single frame clips a few days ago and none crashed. Rendering from full quality R3Ds