how to fix media offline davinci resolve 16

#How to fix media offline davinci resolve 16 1080p#

The reason I suggest this type of strategy is that you can set up your transcodes, which traditionally are brutally slow, to run all day, or overnight, without you having to come back to the application each time you have to start a new source Transcoding. Also, chances are that clips coming from the same sources will have the same frame rates, so I normally tell people that if you don’t have a bin view to show you the FPS, it might be a good idea to create one now. Take the time to do it properly now, so you don’t run into problems later. Please keep in mind that this process, depending on how much footage you have, could take hours to do properly. I try to stay away from the color RED, as RED normally means there’s an issue with the shot/footage, and is a DNU. As you can see below, the three colors represent three different sources. What I do is each source that comes into a bin gets flagged with a color so that after I’m done transcoding, I can place everything into the appropriate bin, and nothing gets confused. What I normally like to do is bring things in “source by source”, meaning that a camera card is a source, and archival footage is a source. So, using the Source Browser, navigate to all the clips you want to link to, and bring them into that bin. To be honest, that’s really how I do things. For the purposes of this article, we’re going to dump everything into one bin, and organize it after the fact. Once you’ve created your project, and entered it, you’ll have an open bin, ready to link to your footage. Set your project for your export, not for your footage STEP 1 – LINKING TO YOUR FOOTAGE

#How to fix media offline davinci resolve 16 1080p#

I’m going to assume for this article that you’ll be delivering 1080p 23.976. You’re creating the projects in the format of how you will be outputting. All of your different frame rates can be put nice and easy into one project with no issues. Yes, I know, we had to do that in the past, but we don’t have to do that any more, and good Lord, what a mess that creates. We’re going to assume that Transcoding proxies/low-res media will be all you’re doing for this project, and we’ll be walking through things accordingly.įirst, please don’t make different projects for different frame rates.

I’m going to assume you know the difference between Consolidating and Transcoding, and when to use either/or. Now, I have to make some assumptions before we get rolling. The first thing that’s exceptionally important is getting your footage into your project properly. Funny enough, I’m actually working on a pretty major project right now, that uses 25p, 29.97i and 23.98 footage, all in the same timeline, that I have offline and online and have become pretty comfortable with the entire process, so I thought, for this article, I’d share my findings with you. What got me thinking about this article was an e-mail from Scott Simmons, asking me if I had any tutorials or articles about mixed resolution/mixed frame rate workflows, but more specifically, relinking with archival footage that comes in different frame rates. Much better, and if you follow some simple workflow procedures, the process will be pretty smooth and, dare I say it, you might actually come to like re-linking, and start using it on a semi-regular basis. Well, I’ll say that everyone has been half correct. It’s horrible, awful, and something that has done nothing but aggravate editors to the point of never using it, as it never works. Not that the concept is confusing but, to be honest, it’s probably been the absolute worst feature in Media Composer since its inception. The other biggest confusion in Media Composer is relinking. I wrote an article about it a long time ago, that I still send to people and the students I teach, who are still confused by the topic. One of the most misunderstood concepts in Media Composer is Transcoding vs Consolidating and really, Avid “friendly” media in general.