[Vladimir Kucherov]

You should check that either your clip names or pro-res file names are the same as the R3D files. If that’s the case, you’ll have an easy time. If someone renamed both the clip names and the pro-res filenames you’re going to have a bit of a hard time.

1. Export an EDL of your cut. Enable either clip names or file names in the comments (enable the one that has the same name as R3D)

2. In DaVinci settings mark the box that says “get reel name from EDL comments”

3. Add only your R3D to media pool

4. Load your EDL

Resolve will then figure everything out.

If your file names are all screwed up, as far as I know Resolve will still try to place the clips by their timecode, and display many many conflicts. You can then spend a bit of time going through the timeline and resolve every conflict manually. It’s a pain in the ass but as far as I know the only way to deal with things if you lost the correct naming conventions.

[Vladimir Kucherov]

If the ProRes shot preserves the name and timecode of the RED file, will it show up as conflict and/or be conformable via “conform to folders” feature?

[Vladimir Kucherov]

Boy, I’d love to have a big ole menu where I can map all these obscure functions.

That or the funds for some resolve panels.

[Vladimir Kucherov]

Ola, I didn’t know about this feature of OSX. You may have just revolutionized my life. Thank you!

[Vladimir Kucherov]

I believe the up/down buttons on the keyboard will toggle all nodes on/off in Resolve. Not sure what the key is on the panels.

[Vladimir Kucherov]

Basically the problem, as I understand it, is there are multiple measures of performance in these systems.

For example, the limiting factor on a 2008 Mac Pro is bus speed (if i remember correctly) which makes it difficult to pipe enough data through an otherwise strong processor.

The limiting factor on a quad core 2010 is processor speed and number of cores, which really hurts performance when working with compressed codecs (ProRes, RED, etc). You *may* be able to get away with it with DPXs, but no quad core computer is officially certified.

What BM did to enable support for 2008 Mac Pros is enable an extra 8 bit monitoring mode, which means that the image prepared for monitor output is smaller in size and detail, reducing bandwith, allowing the 2008 8-core mac pro to work in realtime. 10 bit monitoring option is always available, but in my experience it drops performance down to 22 frames or so.

I would honestly say that you should try and swing it for the 8 core 2010 model, or an 8 core 2009 model. Yes it’s a bit more money but your system will be *solid* with no caveats.

[Vladimir Kucherov]

2008 8 core Mac Pro is now certified (with 8bit video output enabled)
The 4 core 2010 model is not certified. From what we hear it generally isn’t fast enough to decode and do realtime quality.

[Vladimir Kucherov]

I saw these were missing too – and I bet you, just like fixed vectors this is something you can probably do through the full DaVinci panels only right now. If so maybe it’d be an easy fix!

So to sum up panel-only things we’re waiting (hoping for)

Quick memory store/recall from keyboard/tangent
Fixed vector/hue curves from tangent/interface
Shadow/highlight saturation through tangent/interface

As a fix right now you could probably set up several powergrades with keying and desaturation built in. It’s not as fast as a dedicated control but beats making a new key everytime.

[Vladimir Kucherov]

Ah it’s good to see more apps that do this. I’ve already been using Monkey Extract to do something like that – but it would have been nice to have DaVinci media manage for me a bit. Oh well!

[Vladimir Kucherov]

In EDL manager you can chose to have “clip names” as part of the comments in Avid. If your clips are named with proper reel information, would that help?