I'm having some pretty annoying issues with resolve and Smoke at the moment and I hope someone can shed some light on whats going on...
I conformed an AAF into Resolve and linked to 4K DPX
(generated a pull-list in Avid, imported into RedCineX and converted R3Ds to DPX),
There were a few keyframed timewarps in the AAF and as resolve doesn't handle them it looks like its changed the over all speed of the clip.
When I conform the Graded DPX into Smoke some of the clips wont link, I get a message along the lines of "linking failed because media duration is too short after consolidation"... i shouldn't get that message because the timecodes line up and the heads and the tails of the clips match... i even exported the whole clip and i still get the same message, even when i have about a minute of handles!
The second problem is that some of the renders from resolve jump back of fore between versions... when i play in resolve each clip stays with the correct version but not with the exports.
how exactly does resolve deal with time warps? and whats the best way to get time warps from avid to resolve to smoke properly?
Its a very old problem. The only way to make a time remap bulletproof is to render the thing out of the original timeline to create a new clip that runs at 100%. Re-imbed that and then you can be assured no further changes will occur. Oner benefit is that this gives you total authority on which frames actually appear, instead of some kind of duration/frame count mismatch in another application. It does lock your selection, so if you change your mind, you will be doing it over again... but it also cuts down on a lot of processing time as the post proceeds.
Frame sequences may add another layer of complexity to the situation since the individual frames don't really have a frame rate other than a metadata value that should tell an application what the overall frame rate of the sequence should be -- otherwise you're just dealing with a stream of numbered stills. Each one of these actually has an individual frame rate value of "0". Its one factor that otherwise complicates the "handle mixed frame rate" implementation in Resolve.
"I always pass on free advice -- its never of any use to me" Oscar Wilde.
I agree with Joe. After beating my head against the wall many times trying to make FCP or other projects "work" with Resolve, I now just render a timeline as one clip and put it in shot detect. This is only for projects that need no handles, obviously, and have special issues such as mixed frame rates, multiple layers, or are just not very organized. I'm an old timer and if the client wants x to y frames at a certain speed than that's what I give them, not a frame or two either way.
Would be nice if all worked as advertised but sometimes the pragmatic approach is best.
Color Grading / Post Consultant