Bruno Mansi

ditto

That all makes sense. So I'm guessing if there's an interpolation mode in Avid that isn't available/exactly the same in Resolve, there will be some discrepancies. There must be many instances in finishing work where the original interpolation used in the offline is neither known or able to be influenced.

Is this at the Avid end or Resolve end?

I do find that if you overlay a reference file of the cut from Avid, there's some very slight differences in timewarp effects when translated in Resolve. Nothing that cannot be fixed by adjusting the curves, but it seems to be there when the motion becomes more complicated in nature.

You should take a look at the 'Conforming in Davinci Resolve' course by Kevin MCauliffe (in the Courses section of Lowepost). If I remember correctly, it covered some of the aspects of bringing in Avid speed-ramps into Resolve. If you want to extend your knowledge to creating these effects, I guess you first need to decide if you want to learn how to do this in Resolve or within the Fusion module. If you've already had experience with motion effects in other applications, it's not that different in Resolve, but going to Fusion requires more investment in time to get your head around the nodal structure.

Not owning a Macbbook Pro, I'm probably not the best person to answer this, but you really cannot do any serious colour grading on a laptop screen - regardless of the make or model. Ideally, you'd want a separate grading monitor and a video output device from your Mac that bypasses all the OS colour management. Of course, this costs money and may be beyond your budget. I'd recommend you do some reading to find out the problems and the compromises you'll inevitably have to make if you grade from a laptop screen. As a general primer in colour management, I can recommend Jonny Elwyn's web site. Have a look at... https://jonnyelwyn.co.uk/film-and-video-editing/colour-management-for-video-editors/

If you're talking new, There's only really one model, and that's the 16" Macbook Pro 2020. I guess you probably mean what options should I purchase? The base model starts at $2.8K and rises to a whopping $6K+ if you go for a maxed out system. My personal opinion would be as follow... Don't bother with the 2.4gHz processor over the 2.3 - just a 4% difference. (save $200) Memory is the tough decision here. For many people 64GB would be a sweet-spot - especially if you're dabbling with Fusion. That's going to add $800 to the price. If memory were up-gradable, I'd go for the minimum and buy more myself, but you can't upgrade the memory in these models. I think I'd go with 32GB (+$400) and accept the limitations this might bring. The Radeon upgrade to 8GB seems reasonable (+$100) unless you're considering an eGPU setup, which will overshadow anything the inbuilt graphics can achieve. I would stick with the 1TB of SSD. With Thunderbolt you can attach lots of external SSD storage at half the price Apple will charge you. This would make my pick retail at $3.3K - not cheap but Avid should run pretty smoothly with it. The performance in Resolve is really going to depend on what nodes you throw at it, but you can't expect it to perform like a proper workstation with a high-end graphics card (or cards). Having something like one of Blackmagic's eGPU boxes will really make a difference in Resolve, but you're looking at an extra $700-1200. As far as connections to an external client monitor is concerned, there's dirt-cheap (Ultrastudio mini monitor) or something with more flexibility like the Ultrastudio HD/4K mini

I don't know of any way of doing this. I find the side-by-side method of comparing a reference to the master timeline works OK if you're checking for incorrect shots, but not that useful to check for correct resizing or motion effects. In these instances, I prefer to bring in the offline reference as a normal clip, place it (in sync) on a layer above and then switch its composite mode to Difference. Now as you scroll through, you should see near-to-perfect black if the shots are identical (assuming you've done no preliminary grade or colour transform), but where there are differences in size/position, these will be instantly visible. Forgive me if you already know this technique and I'm teaching you to suck eggs!

Can you not use the OFX grid in a timeline node? It will then just sit over the top of every shot/element. Not as convenient to switch on or off, but there seems to be nothing in the safe area settings that will give you what you want.

Just had a look at this. In Avid's subcap tool, you get box options such as 'Each row as Wide as Needed' & 'Each Row as Wide as Widest' as well as padding options, which are really useful Can't see any options in Resolve (v16.2.1) that gives you this functionality. It looks as if the Stroke trick is the only way of doing this in Resolve.

On Windows PCs it's... Zoom in/out = scroll wheel Reposition = Middle/scroll wheel button click-and-drag Reposition up/down = Ctrl + scroll wheel Reposition left/right = Alt + scroll wheel. Not able to test on a Mac, but I should think replacing Ctrl with Command and Alt with Option should work. Left clicking and dragging doesn't do anything on my machine - Win10/Resolve 16.2.1,

I assume you're working with Avid Symphony? I would use the secondary colour correction within the Symphony CC tool to try to isolate and tame these problem areas. The secondary CC in Avid isn't the best, but if it's not up to the task, you could invest in the Baselight Editions plugin.

As long as the transcoded files (I assume as MXF OP Atom) are at 50fps, you'll get the option to run them at 25fps (as I mentioned previously) or at 50fps (ie as Slomo). You simply change the Playback Rates setting in Source Settings. If you're running them as slomos, I assume you're not going to need to sync sound?

When you bring material into Avid which has a different frame rate to the project, it will automatically get a temporal adapter added to it, so that it plays at the correct speed for your project. In your case, this will be exactly a 2X speed change, You can see this if you bring up the motion effect parameter for these clips. You can inspect the temporal adapter settings for your 50fps clips in Source Settings. You should be able to sync your sound as normal.

There's a lot of colourists who are perfectly able (and prefer) to do these sorts of look adjustments themselves, especially when the price of this set is quite high. However, if it suits your workflow and earns you money, I've no particular problem with using them, and they can make a good starting point for further adjustment. Be aware that where you put your LUT in the node chain can have consequences on your ability to further refine the image.