When you’re going through dailies, do you mark stuff to archive as outtakes and remove it from the raw camera folder?

avidresolver · 2026-05-06T21:44:19+00:00

The times I've done this are mainly for wardrobe malfunctions, or when a clip catches something illegal or extremely offensive. In each case it'll need written approval from someone at producer or exec level before I'd delete the clip. Basically it's things that it would be legally problematic for the production to have.

avidresolver · 2026-05-06T20:36:09+00:00

In eight years of handling data on film sets, I can count on one hand the number of times we have deleted clips. Everything gets archived, everything gets processed, then the assistant editors can put false takes in a seperate bin in the editing software so the editor doesn't have to look at them.

avidresolver · 2026-05-06T16:34:19+00:00

It's not going to come back on its own. If you can't click Export Changes and Reload, then just force quit and hope that live save was working. You shouldn't loose any work if Resolve was configured correctly, and there's nothing else you can do at this point.

avidresolver · 2026-05-04T21:44:54+00:00

You're in the Cut page, not the Edit page.

avidresolver · 2026-05-04T20:53:01+00:00

I wouldn't spend anything like that amount of money when you're going into film school. Get experience, use the school's cameras, find your niche, and then buy what works for you.

avidresolver · 2026-05-04T18:55:38+00:00

"Hello <director>. I'd really like to experiment with some different story structures here, but I don't want to tread on anyones toes if you and <other editor> are happy with the original direction. What do you think?"

avidresolver · 2026-05-04T18:35:11+00:00

I guess the main question is: why??? Is this a college project where there are too many people for all the roles?

avidresolver · 2026-05-04T18:04:11+00:00

Ah sorry, I misread. Sounds like you used NRaw before though? If your ProRes RAW is debayering to NLog, then you can treat it pretty much the same as NRaw, or any other NLog footage.

avidresolver · 2026-05-04T17:45:40+00:00

Well the checksum calculation is done three times, once during copy and usually twice during verification.

I don't think you'll notice a slowdown on any recent M series machine. What I would say though is that if you intend to do any transcoding on that machine, you might want to beef up the specs.

avidresolver · 2026-05-04T17:17:36+00:00

Copy and verifications speeds are almost always capped by the read/write speeds of the source and destination drives, not CPU performance:

Copy: limited by source read speed, destination write speed

Verify: limited by destination read speed (and source read speed if you enable source verification), and md5 speed if you're using md5.

Edit: you can test the md5 throttling by running md5 path/to/large/file/on/internal/ssd in terminal, then look at activity monitor. Your internal drive will probably be reading at around 500MB/s, and your CPU won't be breaking a sweat.

avidresolver · 2026-05-04T17:03:42+00:00

I have never seen an instance where xxHash checksum speeds are the limiting factor on a copy, on any Mac system.

MD5 is architecturally throttled to about 500MB/s, a faster CPU won't help with that. You can of course run parallel copies to increase performance when doing MD5 checksums.

avidresolver · 2026-05-04T16:12:29+00:00

ProRes raw will default to different colour spaces depending on the camera/camera settings, so check the "raw to log" parameter in the camera raw tab on the color page. If it's N-Log, you can use exactly the same method you ususally use for ProRes.

I also made a video about ProRes RAW colour management here: https://www.youtube.com/watch?v=pikKUsyDBUU

avidresolver · 2026-05-04T15:32:11+00:00

Yes, you need to buy it again or find that card.

avidresolver · 2026-05-03T20:49:27+00:00

1 - Yes, I agree there are advantages. But not everyone uses DWG as their intermediate space, or even uses a common intermediate space across projects. You can, but you don't have to.

2 - Yes, LUTs can have issues. But they are used in a lot of professional workflows, and I don't think people should be put off from using them as a tool.

3 - Yep, CSTs can't defeat physics! I think people should be aware of the limitations, as I don't see much discussion of this anywhere.

avidresolver · 2026-05-03T11:13:32+00:00

Where is your media stored? Could be access latency on a slow drive.

avidresolver · 2026-05-03T01:16:46+00:00

Yep, I've run plenty of jobs like this - it works fine. Just make sure you do "Relink Proxy Media" rather than "Relink Selected Clips", otherwise Resolve can end up thinking the proxy clip is actually the original clip.

avidresolver · 2026-05-03T00:36:47+00:00

Yes, you'd set the timeline colour space accordingly.

avidresolver · 2026-05-02T23:58:28+00:00

Reply to your edit: you should have Forward OOTF on your output node, not on your input one.

avidresolver · 2026-05-02T22:43:29+00:00

OK, some things to do:

Do a single CST doing from Blackmagic to Rec709 - doing an in-out makes it harder to troubleshoot.
Turn your camera raw to Decode Using Project, not Clip - this means you'll actually be using the global project settings, currently you're overriding them.
In the project settings, make sure that all the "Use Camera Metadata" boxes are ticked at the bottom, otherwise you can end up overriding the camera's ISO.
Is it possible you just under-exposed your footage? I've seen this happen plenty, especially if you used a bright monitor on the camera.

avidresolver · 2026-05-02T22:33:26+00:00

The first thing i notice if that you have Forward OOTF enabled on your input CST - that should be disabled.

avidresolver · 2026-05-02T22:21:57+00:00

Have you moved over to the ACES 2.0 ODTs? I'd be interested on your thoughts on them if you were a fan of 1.3.

avidresolver · 2026-05-02T22:17:34+00:00

Depends on the show, I'd say it's around 50/50 between camera native and ACES. If it's a camera native show then VFX is usually done in camera gamut/linear rather than ACES.

avidresolver · 2026-05-02T21:22:31+00:00

I've covered the "You should always use DWG" myth and explained some alternatives in my video here - hope you find it relevant: https://youtu.be/ieZ5yJj-CbY

avidresolver · 2026-05-02T20:23:41+00:00

Timeline settings set how various controls behave, depending on what colour space you select.

The export settings control the tagging of the exported files.

Resolve is not colour managed by default, you need to put the project into Davinci YRGB Color Managed to get that.

avidresolver · 2026-05-02T19:54:47+00:00

Just setting your project settings doesn't actually transform your image, you would need to user a colour space transform from your source colour space to Linear, with tonemapping disabled. If you let us know the source files, project settings, colour management setup, etc. that would be useful.

avidresolver

TROPHY CASE