![]() ![]() If you haven't trained yourself the right way, these snags become career-threatening roadblocks. ![]() Sure, there will always be ‘snags', but by grounding yourself in correct practices, you will have the knowledge to deal with them. ![]() If you follow the instructions correctly there's no reason why a perfect round-tripping workflow cannot be obtained. These go into minute detail, and should be your first stop to finding your workflow. The manual clearly details steps you can take with each NLE to prepare to export your EDL/AAF/XML. If you're working with FCP or Premiere Pro,, start working with XML. Start with a basic edit and try to work with EDLs. To keep things simple, I recommend the following learning method: The wrong way to learn Resolve is to try to understand all of them! There are too many possibilities, permutations and combinations. It tries to be platform agnostic, but it comes at the price of complexity. Resolve does everything possible to ensure you can work with sequences and timelines from various NLEs. Round-trip back into the NLE for further post production. Color correct your timeline and export them from Resolve, or Sometimes you need a bit of a push - this is normal. If the media is in the same directory, Resolve will link to them automatically. Import the EDL, XML or AAF (plural, if you have multiple timelines to import). Importing sequences into ResolveĮven though Resolve is being used more and more as a dailies-creation and on-set ingest tool, its primary function is color correction. I suggest finding exactly what you're interested in right now, learning to make that work well, and then sticking to it. Unless you have experience with multiple workflows, some of these features and options will not even make sense. The newcomer is not encouraged to try every one of these import settings, simply because it is overwhelming. Then you can link your video and audio so they don't drift out of sync again. If no timecode exists, you'll need to manually sync your audio. Timecode - they are synced automatically. What about audio? You can import separate audio files and link them via: If the option is available, you will be able to edit it. You can also edit metadata (not all file formats allow editing metadata). Once you import your media, you can view metadata regarding it in the Metadata panel. Resolve gives you a lot of control over your import process, and it is beyond the scope of this article to go into them all, especially when the manual does a stellar job of explaining each workflow. To cut a long story short, you can do anything and everything to get the clip to ‘agree' with your project settings. You can also change clip attributes on the fly. Once you've imported your clips, you can: Resolve supports debayering up to 16-bit, which is as good as it gets currently. You can set the defaults on how you want to treat each supported RAW format. For that you go to the Project Settings and select ‘Camera Raw': To import raw files you will first need to decide how they are debayered (demosaiced). You can also import entire directors or a range of clips into the Media Pool. Double click your clip or Right-click and select "Add into Media Pool." To do the former, you import either file-based codecs or capture via camera directly. After transcoding footage to Davinci Resolve supported file formats, then you can proceed to the next step: import video to Davinci Resolve for professional post video editing workflow: create Dailies, Proxies or Intermediary codecs. ![]()
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