I hope somebody can help me with this issue. The issues are specific to these files and this program. The device was a medical endoscopic camera if anyone is interested, device name or model number cannot be found in the files.Īdditional notes: Everything works peachy when trying this with blender and any other file works fine, old projects work fine and render fine. all the following information about them is ientical between themĬodec: H264 - MPEG-4 AVC (part 10) (avc1) The files: three files in total, between 8 and 17 minutes in length, all roughly the same bitrate. OS: Windows 10 Home Version 1 Build 19041 tried different codecs and formats to encode to Installed the latest *STUDIO* version of my GPU driver checked whether the files are 4k or h.265 (they are neither)į. Changed GPU processing mode to "Auto" or "CUDA"Į. Accessing the files from a different location.ĭ. I have researched this issue online already and here is what I tried before and none of them changed the problem in any wayī. Please check if the clip is still available on the drive." DaVinci Resolve shows me "Render Job 1 failed as the current clip could not be processed: The clip stream_chn0_no101_0.mp4 could not be decoded correctly. All I want to do is change the bitrate from ~30000kbps down to something handier like 6000kbps. I go to the deliver tab to finalize the project nonetheless. Playing the files on the timeline shows a black screen with short flashes of the "media offline" message, sometimes (rarely), a few frames of the actual footage are seenĦ. The file thumbnail shows "Media Offline"ĥ. I import them into a new project, either by using Resolve's own file browser or by drag&dropĤ. The files play in regular players from my hard drive without issues.ģ. I received USB sticks with the files on them and copied the over to my hard drive.Ģ. I'm slowly learning Resolve myself and have recently become aware of some of its incredibly useful, single-click metadata assignment abilities. If you're an Avid-user, avid workflower in general, or simply want to know more about the slightly unexpected ways you can use Resolve for media management, be sure to check out his full post.I have been using DaVinci Resolve for a while now and I never experienced this error before.ġ. The specific benefits go on, but there's really no way to fit it all here without detrimental over-simplification - Freeman's writeup is extensive for sure (in a good way). I then use the EDL Reel ID's by right clicking on a folder on a drive and choosing from the contextual menu Add Folder and Subfolders Based on EDLs into Media Pool. I set-up the DaVinci Resolve to view the camera sources with the exact Avid tape name, thus a media match. The system is so flexible that with these configurations you can let your media matching dreams come true instantly. Resolve solved the tape name issue with its rich configurations. I dove into using Resolve v.7 in March 2011 on Suits and Covert Affairs and haven't looked back.įreeman describes the process of modifying sources (for a 600 to 1000-edit episode) as "a laborious and risky task," which amounts to a lot of clicking in Avid. What took me five days now takes me 11 minutes. Some people might think it's strange for an online editor to use Resolve, but it does much more than color correction so I decided to use it to pull my shots. When Blackmagic Design released Resolve, I realized how I could use it to solve my dilemma. What makes it a fascinating position is that it's 100 percent file-based, which provided me with a fun dilemma to solve. I'm the online editor for Suits since the pilot and Covert since Season 2. He recently shared on CreativeCOW the following - abridged with my emphases: As such, Freeman wants you to know that in terms of metadata manipulation, DaVinci Resolve is also hardcore - more so than you might expect, depending on your background. He is wise in the ways of hardcore media management, round-tripping and conforming, and devising workflows. Scott Freeman has experience from the "old school" of post production. His workflow reminds us that such abilities are still quite useful today - when teaming up with Avid and otherwise. Si dans DaVinci Resolve tu vois un gros écran rouge dans un moniteur avec 'Media Offline' indiqué, cest quun fichier vers lequel un lien de ta bibliothèque. Scott Freeman, online editor of the USA series Suits and Covert Affairs, has recently taken the time to illustrate Resolve’s muscular metadata abilities. Resolve is no exception, even though we think of it primarily, even exclusively, as a grading tool. It can be easy to forget DaVinci's hardware-based origins, just as it can be easy to forget Media Composer's origins as the dedicated machine editors used to call "The Avid." Even in their software forms, these systems retain media matching abilities that were vital in the stand-alone NLE days - control of metadata. Nowadays, we equate 'DaVinci' with the powerful color correction software Resolve.
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