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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

DaVinci bringing in the wrong clips

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Rick Turners

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I'm trying to conform a red/5d project.

Typically I just export an XML from FCP. Import into into DaVinci, show it the drive where the clips/r3ds live.. and it conforms perfectly.

This time, when I do this, only 5% of the clips are imported correctly. The rest are random r3ds (file names/timecodes) dont match up.

How can I tell DaVinci to grab the correct R3Ds? Is this a DIT/Logging problem? I'm not sure where to begin with fixing this. Manually conforming this is basically not an option.

The 5D stuff is all usually the correctly clip, but is always cutting to the first frame of each given shot. How do I fix this?



Any gurus here!?!

Thanks!
 
New details..

When I bring in an XML, I dont get a Conflict on any clips. Even though they are wrong

When I bring in an EDL, I get a C on every clip, when I go to Resolve it, I can select the proper clip.

Why is it bringing in the wrong clip to begin with? It seems to give me the right one as an option in the Conflict page?!
 
It sounds like you either haven't enabled proper tape names on your R3D files when you bring them into the media pool, or you don't have proper tape names in the EDl or XML. In the absence of a tape name match, Resolve will look for any clip in the media pool with matching time code,which in many if not most cases will yield more than one possible match. You need to look at the tape names called for in the EDL and figure out the best way to extract those names from your clips. If you have unambiguous matching tape names and time codes you won't get multiple matches.
 
Thanks Mike,

I managed to get all the R3Ds to come in properly using the XML. I just had it look at the XML and ignore file extensions and it worked (I thought I tried this before? guess not!)

The 5D stuff is still an issue. I did "add additional footage" in the conform and had it goto the 5D folder. It still connected to the wrong clips etc. For example, one shot used in the cut is supposed to be 100_0102.mp4 but resolve chose 100_0220.mov. They are different lengths/names/file paths etc. It comes up with a conflict where I can change the clip to 100_0102.mp4, but the timecode is way off.
 
Problem is its 100's of shots.

Id rather not force conform/slip/slide them all into place.

There has to be a way?
 
I am having this issue currently as well. My R3Ds are coming in fine and timed correctly, but all of my 5D footage is either the wrong clip or has incorrect in and out points. I have tried everything from EDL to XLM, and I am at a loss. Any suggestions ?
 
Chad Bonanno said:
I am having this issue currently as well. My R3Ds are coming in fine and timed correctly, but all of my 5D footage is either the wrong clip or has incorrect in and out points. I have tried everything from EDL to XLM, and I am at a loss. Any suggestions ?
Click to expand...

Are you sure they didn't use transcoded clips (for the Canon material) for the offline? Since the originals have no time code, some programs use the time stamp of the file for time code, which will not conform properly because Resolve will assume the first frame of each clip is always 00:00:00:00. As for correct clip recovery, you might want to generate an EDL to more easily determine what the offline actually considers the reel name, and set the tape names in the media pool to something that matches that.
 
M Most said:
Are you sure they didn't use transcoded clips (for the Canon material) for the offline? Since the originals have no time code, some programs use the time stamp of the file for time code, which will not conform properly because Resolve will assume the first frame of each clip is always 00:00:00:00. As for correct clip recovery, you might want to generate an EDL to more easily determine what the offline actually considers the reel name, and set the tape names in the media pool to something that matches that.
Click to expand...

The clips from the 5D.mk3 were loaded straight from the camera right into Premiere Pro 6 still as the original H264. They were shot at 59.97 and are actually playing back at 59.97.

Currently, I am splitting my timeline into 2 layers, one for R3d and one for 5D. I will ignore the 5D layer and work on the R3D layer for my entire grade, then just grade the 5D stuff separately in After Effects or something. My worry about this method is if I get an editorial change, I am screwed!

C
 
Chad Bonanno said:
The clips from the 5D.mk3 were loaded straight from the camera right into Premiere Pro 6 still as the original H264. They were shot at 59.97 and are actually playing back at 59.97.

Currently, I am splitting my timeline into 2 layers, one for R3d and one for 5D. I will ignore the 5D layer and work on the R3D layer for my entire grade, then just grade the 5D stuff separately in After Effects or something. My worry about this method is if I get an editorial change, I am screwed!

C
Click to expand...

I seriously doubt that clips with 30 frame time code (or assumed 30 frame time code due to the clip frame rate) are going to conform correctly in a 23.98 project. Is that what you've got?
 
M Most said:
I seriously doubt that clips with 30 frame time code (or assumed 30 frame time code due to the clip frame rate) are going to conform correctly in a 23.98 project. Is that what you've got?
Click to expand...

No even worse! They are 60fps! My original timeline in Premiere is 23.97 , all of my RED stuff is base TC of 23.97 ( even though some of it is shot 48FPS) ... but this Damn 5D stuff is 60.

Lost cause here?

Thanks for the response! this helps a lot!
 
Chad Bonanno said:
No even worse! They are 60fps! My original timeline in Premiere is 23.97 , all of my RED stuff is base TC of 23.97 ( even though some of it is shot 48FPS) ... but this Damn 5D stuff is 60.

Lost cause here?

Thanks for the response! this helps a lot!
Click to expand...

Wa it shot at 60 as an overcrank, with the intent of playing back at a 23.98 base?

I hate to say it, but this sounds like one of those way-too-typical "zingers" that seem to happen with great regularity in the indie world. Good luck with this (and good luck getting paid for the additional time it's going to take.....).
 
Chad Bonanno said:
No even worse! They are 60fps! My original timeline in Premiere is 23.97 , all of my RED stuff is base TC of 23.97 ( even though some of it is shot 48FPS) ... but this Damn 5D stuff is 60.

Lost cause here?

Thanks for the response! this helps a lot!
Click to expand...

Just render all your 5D shots as one Prores quicktime file, generate EDL for that timeline and bring it into the project as "split and add" based on that EDL to a second layer of the R3D timeline. It's a bit of work, but it is bullet proof.
 
jake blackstone said:
Just render all your 5D shots as one Prores quicktime file, generate EDL for that timeline and bring it into the project as "split and add" based on that EDL to a second layer of the R3D timeline. It's a bit of work, but it is bullet proof.
Click to expand...


NIIIIICE! Looks like that is the plan! Thanks for the suggestion!
 
That is a pretty good way to do it. You'll have to manually delete the "gap" areas between the shots, but that shouldn't be that time consuming.
 
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