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Thanks for the comment. As i said in the video, i am not a scripting guru, so i'm honestly not sure, and would have to do some playing and research.

Ya, a lot of time has gone into building icons.

Excellent! Thank you for sharing.

Sorry, i avoid Beta from resolve like the plague, so i wouldn't know what it does in that version.

When HD first came out we had to purchase a DVC Pro deck because that is what ESPN wanted, and and HDCam deck, because that is what everyone else wanted...so "standardize" has never been on my radar.:)

It looks like i'm running python 3.10 I believe there may be issues with newer versions of python and Resolve. (not a python person by any stretch of the imagination.)

Hi Terry. Sorry, i was so busy trying to give credit to how i built the script, i forgot to include my final one. I'll post that in the comments shortly. Glenn

@@tvtech4688 Ok thats funny, just glad I'm not going crazy.

Thanks. posting the actual script I used right now in the description section as well.

Thanks Terry. Posting the script in the info section as well. Glenn

Glad you enjoyed it.

apart from showing how much avid crashes using braw footage, the workflow would be the same. This workflow doesn't rely on any particular codec to relink to. As long as the metadata is maintained during any transcode building process, it should work.

Exactly. There is a time and place for 3d camera tracking...but it isn't always necessary. Thanks for the comment.

Actually, you are exactly correct. I have a 4 point tracking video sitting on my box for months, but i just am having trouble finding time to shoot the on camera aspects. It has been an incredibly busy year...which is good for me, bad for my channel.

Glad it helped!

I find cutting in Braw still causes some crashes in Avid, so, yes, i would suggest you can shoot braw, but cut in something a bit easier on the box. Do you plan on coloring in Resolve?

Glad to hear that

Probably is one of my LTO's...but I do have a Tektronix scope as well.

Tons of relink options in Avid. It just takes a bit to learn and understand them.

Glad it helps

Well the term "round trip" would indicate it does a full circle. From Resolve to Avid, and then from Avid to Resolve. That would be a round trip. (Flying from LA to NewYork is not a round trip, untill you return to LA.😎

The Speed editor does work with other pages, but it can be limited. I wouldn't recommend buying it, thinking that it will do anything amazing in other pages. It is certainly only designed at this point for the cut page, so buyer beware. As for the Shuttle Pro2, i do not have one of those. My honest preferred method is the color wheels and a few stream decks. This actually does everything I need. The speed editor spends most of it's time on the desk behind me... some day i'll give it another try, but I still am just not a huge fan of editing in Resolve.

Hey Nick, thanks for the comment. You've lost me a bit on the "Select all clips from one camera, and line up the spike. 100 shots will all sync instantly". How is lining up 100 shots to the spike, having them line up instantly? Plus if there is no usable camera audio, you are going to have a hard time knowing when the actual click happens. Its one thing to hear it on the audio track, but if i cant see on the video track where it occurs, then i'm just gessing anyway. At least with the hand clap, you can see (within reason) where the clap occurs. Either way, I always ask for a more professional setup at the beginning. I have better things to do with my time than line up 100s of shots. Great thought though.

The tentacle allows the SAME timecode to be used on multiple cameras at once. The fact that your cameras have internal tc is great, but unless you can sync those timecodes to each other, which usually requires an external tc source running timecode INTO the cameras, then the internal timecode doesn't do you much good in a multicam shoot. Sorry about the all caps, but I can't seem to bold or italicize words to emphasize them....i'm not shouting at you. :)

Glad you liked it!

Hi Trel Studios, thanks for the comment. Can you elaborate on your workflow? What would the need be to sync audio first? I'd have to play with it, but I think you might end up with an issue with trying to match frame back to the audio and or original video file...but I usually just sync audio as a secondary process. Let me know your reasoning for doing audio first, and maybe I can give it a shot to see what happens. Always looking for more workflow ideas.

Once it is all working, the bluetooth is pretty handy. Just spent a spotting session on the couch, addng markers at scene changes.

Great to hear!

Thanks Paul. I'm sure I could be persuaded to upload some items once i get some time. I usually protest against uploading settings, as they are so dependent on my keyboard layout, which is totally different from everyone else' so i really don't see the benefit in that. The icons...ya maybe.

@@tvtech4688 Thanks. Really appreciate it. Creating the icons and programming the actions (shortcuts) is really time consuming. I bet you could charge for this.

@@paulgreenberg7112 Unfortunately, like i said, settings are all based on your own personal keyboard settings. Really, within 5 mins of playing around, you would get most of the programming down pretty easily. Don't know that it is worth an hourly rate...but if you want to send me some money......:)

Thanks Idar.

Yes, but i don't always want a ripple, just an overwrite. I like it, honestly, less enthralled with editing on Resolve than the device itself. If it worked with other software, i'm sure I would love it. One of these days, i'll commit to cutting something totally in Resolve.

Thanks for watching. As I said in the video, i think the easiest workflow is to assign the timecode to the original files, and then just use them like they were originally shot with proper timecode. I don't see a benefit from creating an xml to bring the files into any program.

Thanks for the comment Phil

Thanks for the comment Wakko. There is some edit page functions that do currently work. I've learnt over the years never to assume anything for future updates from Blackmagic. They are just as likely to come out with a different product. I'm trying to learn how to edit in Resolve still...getting there, but Avid is still my go to for complex shows, but i do like the trimming on this device, although every now and then i have to manually select the clip, as it keeps trimming the wrong piece, especially in a multilayered setup

Thanks nmbr73. I'll bet you got a lot of funny looks in elementary school with that name! :) My point was that there is now way to not have everything shift down the timeline. Sometimes its nice to just do a replace or a good old fashioned overwrite, but everything has to ripple. I find the cut page gets less and less usefull with clips on multiple layers, but yes I guess you could treat the V2 track as an overwrite layer, and then clean it up later by dropping it down. Different way of working than what i'm used to with Avid. Still playing... Thanks for the comment.

Thanks for watching Nick.

The streamdeck is a must have. I'm running 5 of them right now. Another alternative is the logitech G13. Cheaper, less visual appeal, but similar functions.

Hi Christian, thanks for the comments. Just making sure i'm understanding your first question. If you were to make a separate Resolve project for every day of Dailies...is that what you are asking? The ability for Resolve to find the source material isn't really dependant on where the dailies were originally created. I do find it much easier to create all your dailes in 1 Resolve project, separated out by bins and timelines per shoot date and camera name. (Cam1, Cam2 etc) Putting all your footage in 1 resolve project might seem bloated, but I would argue that on a 30 day shoot, 30 different resolve projects is far more bloated and confusing. Trying to find a shot based on what day it was shot on, and then finding that project seems a bit counter intuitive to me. Keeping all the footage together in 1 dailes bin will make any trip back far easier. Yes, you can certainly do a media conform from an AAF without having any media in the project to begin with, but i usually find it far easier to just store the media in a project, and have it ready to go when needed. In the case of the colour house not having the dailies drp, then I (as the colour house) would be just as likely to bring in all the media first, than do the aaf conform to that media. I have done it the other way as well, where I tell resolve to search for the media, but i always seem to be missing a shot or two along the way. Again, having all the media in a project doesn't seem bloated to me...i don't find resolve slows down because of the amount of media in a project. If that media was spread out over 30 hard drives...when that is a different issue. As for file naming, i actually used to use a custom naming convention for R3ds...honestly havent used Red for a while...i'd have to check some old notes. As with any workflow best answer is do a full roundtrip test, and see if the proper information shows up in Avid, and then comes back. Part of the problem sometimes is the amount of digits allowed through some of the other naming conventions, or the possibility of split clips can also cause an issue. I find file name pretty rock solid, but not saying the other method wouldn't work.

@@tvtech4688 that all makes sense to me. using a copy of the dailies project for online/upres and color would probably make the organization and process pretty easy.

Certainly takes some playing around to get the experience needed for great results. I'm getting better and better at using it. Would love to try a hand held one, but pretty pricey.

Thanks. I would love to tackle some scanning with the hand held scanner as well, but its a bit pricey for my needs right now.

Great tip, thanks

Great tip! Will try that on my next scan.

If you started in Avid with a speed change, it will get reapplied when you go back to Avid. If you are trying to change the speed in Resolve, but the edit started in Avid, that breaks the roundtrip workflow a bit, like I said in the videos. If you want to start in Resolve and go to Avid, the speed change should be included in the AAF, but I honestly don't usually start in Resolve, and then go to Avid. I almost always start in Avid.

Glad it is helping. Slo mo should be retained if round tripping, and it was started in Avid. If you changed the speed in Resolve, you would be best to export that as a new shot, and manually cut it back into Avid. That falls into the "changing the timeline" category.

Thanks Terry.

Thanks Terry, appreciate the comment.

Thanks Louise. Was nice to have something other than Ruby to follow with the new camera gear.:)

Thanks...its more work than i thought it would be!