Vladimir Kucherov
Forum Replies Created
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Okay, here’s one very hack-y solution, although it doesn’t help me with handles..
Just render out as source, with each clip in folder, then arrange by date created in finder, select all, and drop in timeline over original footage. It should line up correctly.
Then, you’ll have to re-do motion effects, but you can do that pretty quickly by copy pasting attributes. I’m guessing less work than manually reconnecting a lot of clips.
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I’ve been banging my head against the wall about this for the past 4 hours.
Here’s the problem again in a hypothetical situation, if anyone is still confused:
Say the source material is just one quicktime file called “mastershoot.mov” – it is 5 hours long.
From it the editor cut a 30 second commercial.
You bring in mastershoot.mov and an EDL into DaVinci, and you grade. All is good.
Then you wish to render out in source mode (say, the client wants handles so they can tweak the cut later).
Every single rendered out file will be a small part of the 5 hour “mastershoot.mov”
However, it seems like FCP doesn’t really understand this well. It expects just one file. It doesn’t want to open up 100 files auotmatically, scan their timecode, and decide which of these clips goes where.
Rendering out to folders works but you have to manually connect each clip and FCP still throws error messages at you.
I think the easiest method to “fix” this type of issue would be to have Resolve have the option to generate a NEW edl on output. This, in addition to rendering out clips with unique file names, will allow you to import into FCP or another app and relink easily.
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What about a wiki? I threw up one on Wikia a little while back thinking it might be nice to start filling one out:
https://resolve.wikia.com/wiki/Main_Page
If every time we on this forum on through email learn of a cool new thing, we could add it to the wiki and have that as a reference.
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I think you make a good point in that ideally, the red decode settings should be a little quicker to access and have the option to be copy/pasted with the rest of the grade. I think we would all benefit from such a feature.
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Try to find a way to run an HDMI cable directly out of the back of the main DeckLink card (fortunately they’re standard HDMI connectors and not something propriatary)
I am doing it through a hole in my 2 port eSata card bracket. Others have done it through the front drive bay.
If you want to throw money at the problem instead of a drill, you might want to get an HDLink which can take your SDI out, and give you HDMI out and SDI pass through
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That’s a really nice analogy. Although it sounds like some of the little features we’re missing are enabled through the resolve panels. So I guess you could say we got the super economy version of a ferrari that’s missing cupholders.
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Another way that I sometimes use is just create a unique grade version for that clip. That way its correction will be different from the others.
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I think the obvious ones that should be mentioned are that conforming, realtime playback, and 3d motion tracking are the most impressive features, and yes they’re amazing.
For me though the most pleasant change was timeline organization. Having a thumbnail string makes it so much easier to find clips, and having each thumbnail have lots of useful info is even better. Combine that with having corrections linked to master clips, and being able to arrange clips by timecode instead of by EDL order, and I’ve cut hours of work off coloring.
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That’s very interesting. I might do some tests with mine as well. I have always felt that the wheels, esp the jog wheel was skippy and slow. If this is a problem I could send my board in to fix it’d be happy days!
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For something like this you’d have to bring it into DaVinci on one track with no dissolves, grade, export as source clips and re-create the fades in Final Cut.