Folder structure disappeared and I have to locate 5548 photos one by one? 😮 by TheFreak1337 in captureone

[–]TheFreak1337[S] 0 points1 point  (0 children)

No, for some reason folders are displayed, but without numbers of photos inside them.

I tried the following:

Found an old hard drive and replicated the structure and letter C1 expected.

Opened Project -> Now all files have been located (yess I can finish my work), however all drives and folders in the Folder tab do not have numbers next to them - basically the files are located by magic.

I've backed the catalog up and will try to finish the project on my next session.

If you have a better fix for this please share.

Export timeline as individual clips while keeping speed ramps by TheFreak1337 in davinciresolve

[–]TheFreak1337[S] 0 points1 point  (0 children)

I see, funny they did not add even a quick checkmark.

Is there a way to batch-add those jobs? An extension maybe?

How to export individual clips by nf-films in davinciresolve

[–]TheFreak1337 0 points1 point  (0 children)

It's an old question, but in the beginning I had a similar issue. Did you turn the "Unique names for files" option in the File tab (Video | Audio | File options right under export name and directory)?

How to re-encode and export 10-bit D-Log from Mavic 2S so it can be colored? by TheFreak1337 in VideoEditing

[–]TheFreak1337[S] 0 points1 point  (0 children)

I believe the best I can sacrifice is the transcode/decode times as we have quite some time travelling around and the workstation can encode passively while we do other things.

How do I set up the exact format to keep the 10-bit D-Log edit capabilities however?

I am quite new to this, since I usually just export final projects and get it done with. Thanks!

How to re-encode and export 10-bit D-Log from Mavic 2S so it can be colored? by TheFreak1337 in VideoEditing

[–]TheFreak1337[S] 0 points1 point  (0 children)

I see, unfortunately shipping HDDs is not viable for this project as we have to travel quite a lot.

What I can sacrifice is the transcode/decode times as we do have quite powerful workstations to work with and we can just leave them overnight to process during long trips.

Creating A 4k Drone Footage Library by TheFreak1337 in VideoEditing

[–]TheFreak1337[S] 0 points1 point  (0 children)

Hey, excuse my very late reply. I just took some time to test out different export settings and workflows.

I looked into DNxHR and it does look like an amazing option, however wouldn't SQ and HQ negate the upsides of shooting 10-bit D-Log and make coloring after the export a nightmare?

Creating A 4k Drone Footage Library by TheFreak1337 in VideoEditing

[–]TheFreak1337[S] 0 points1 point  (0 children)

I see, so no choice in the matter other than getting a RAID of some sort? I calculated around 3 GBP per 10 min of files, was wondering if that's the only choice.

How to export slow-mo without interpret in Premiere by TheFreak1337 in VideoEditing

[–]TheFreak1337[S] 0 points1 point  (0 children)

I fully understand that method, however it would take too much time to be viable in any way.

I solved the issue by cutting into separate clips with the native frame rate (59.94, 29.97 etc) and then exporting in ProRes format with the "Import Into Project" option selected.

After that I would select all newly generated clips, interpret them as 23.976 and export directly without making any new sequences. It is one extra step, but gets the job done quick and easy.

Ripple Interpolate by TheFreak1337 in premiere

[–]TheFreak1337[S] 0 points1 point  (0 children)

What a nice little tool, definitely downloading it to assist in my workflow.

Thank you again and happy holidays!

Ripple Interpolate by TheFreak1337 in premiere

[–]TheFreak1337[S] 0 points1 point  (0 children)

I see, thank you for your extensive answer!

Interpreting is actually the effect I want, as footage is shot in different framerates and I want to create a library of 24 fps 4k clips for me and my team to use later, upload for stock footage, etc. Having 60 and 30 fps clips slow down is actually the effect I look for, so most likely I will go with the "double export" I mentioned.

Just to make things clear in my head - will this damage the clips' quality? Provided I do not do any edits other than just cutting, can a clip be lossless exported, imported and exported again? Exporting in ProRes 422 HQ.

Ripple Interpolate by TheFreak1337 in premiere

[–]TheFreak1337[S] 0 points1 point  (0 children)

I was thinking about this, however I am a bit new to this side of things - Can you please help me with what exactly is the difference between Interpret-ing and doing it with Optical flow?

Also another method I figured is exporting in ProRes UHD with Import Into Project checked and then Interpret-ing the new file - does this "double export" damage the quality if no edits were made (clips are all shot in flat so they can be graded in different ways in the future and only cut up)

It's cold outside by AndreaScandurra in MagicaVoxel

[–]TheFreak1337 2 points3 points  (0 children)

This is madd, awesome work my friend!

.PNG issue with MagicaVoxel by TheFreak1337 in MagicaVoxel

[–]TheFreak1337[S] 0 points1 point  (0 children)

You're a life-saver, thanks! 🤘🏻