Craig Melville

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About Craig Melville

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  • Birthday 01/06/1976

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  1. Thanks Bruno, I had another look at it today. I managed to solve the issue in Resolve by "Exporting metadata to" in the edit page. Opening the csv file in Numbers then creating a new field for Scene and pasting the data from the Desc field into the new Scene field. I then used "Import Metadata to" to update the metadata in resolve. (And yes I think I incorrectly pasted the wrong screenshot above.)
  2. Hi folks, I'm having trouble with Premiere and Resolve not understanding the scene and take metadata contained inside r3d files. On a shoot I diligently logged the takes and scenes into the camera metadata on the red. Red cine X shows the correct information as shot. This was simply the Scene and Take numbers we created as we shot the material. (see below) Resolve sees the Scene as description and the Take as the Take. Which is good enough to make it somewhat useful. However, by default Premiere sees neither of these bits of metadata information. People have suggested exporting an XML from Redcine X. That only imports the scene number but not the take. Surely this information is super useful. So why the heck is it so hard to actually get an editing system to actually read it? Also Premier and resolve don't seem to understand the metadata when I move between the apps in XML. Also when I export an XML out of Redcine X it mangles the embedded audio tracks. They appear off-line and want to reconnect to non-existent files. So the only way I can get any Scene metadata into Premiere causes the timeline to become essentially corrupted. Any clues here? I'm trying to find a way to make this process streamlined and organised but it's proving to be very messy. Love to hear any theories. REDCINE X: Resolve sees the info in a slightly wrong way but at least it's there. Scene is mapped to description and take appears as take:
  3. So perhaps that step was missing. Sounds like we should add reel numbers to the proxy media to help them link up. I used to use an app called qtchange to do that to qt files. It was handy on DSLR files as they’d often have the same file name. Don’t think that app works on the new macs. If I recall correctly, changing the reel numbers in the editor didn’t change the reel numbers on the files. But I assume premiere would at least take that info into the xml if it was in the project. If the files have the reel numbers embedded then the whole system would work much more reliably. I’ll play around with that too. Thanks again for you advice.
  4. So perhaps that step was missing. Sounds like we should add reel numbers to the proxy media to help them link up. I used to use an app called qtchange to do that to qt files. It was handy on DSLR files as they’d often have the same file name. Don’t think that app works on the new macs. If I recall correctly, changing the reel numbers in the editor didn’t change the reel numbers on the files. But I assume premiere would at least take that info into the xml if it was in the project. If the files have the reel numbers embedded then the whole system would work much more reliably. I’ll play around with that too. Thanks again for you advice.
  5. Thanks Jamie. Appreciate your prompt response and thanks for sharing your thoughts on this. I’ll definitely test your approach out. One thing I notice is the .R3d files do not have reel numbers nor do the proxy files - so I assume that is what always causes incorrect shots to be conformed if the file names don’t match 100%. This happens a lot when we’ve got timelines that use material from multiple days. The likelihood of having a multiple incorrect timecode match is high. (And super annoying to fix on a big job.)I’ll read up more in that syntax you mention for the search and match criteria. Sounds like I need to force it to consider the file name minus the last three digits (which occur because if the spanned files), exclude the extension and match on timecodes. I swear I’ve tried to do that before using the dialogue box in the relink to media in bin with loose file names and .r3d extension forced but I’ll try your way using your approach.
  6. Thanks Jamie. Appreciate your prompt response and thanks for sharing your thoughts on this. I’ll definitely test your approach out. One thing I notice is the .R3d files do not have reel numbers nor do the proxy files - so I assume that is what always causes incorrect shots to be conformed if the file names don’t match 100%. This happens a lot when we’ve got timelines that use material from multiple days. The likelihood of having a multiple incorrect timecode match is high. (And super annoying to fix on a big job.)I’ll read up more in that syntax you mention for the search and match criteria. Sounds like I need to force it to consider the file name minus the last three digits (which occur because if the spanned files), exclude the extension and match on timecodes. I swear I’ve tried to do that before using the dialogue box in the relink to media in bin with loose file names and .r3d extension forced but I’ll try your way using your approach.
  7. I tried the change folder method for an edit that was created in Premier using Proxy media brought into Resolve. That worked fine. The low res media came across. However when I try to "change source folder" to the folder which contains the original r3d files it doesn't allow me to relink the files. I've been told this might be because the Red .r3d folder has a different amount of files to the proxy folder. Problem is it has to have a different amount of files because those clips are spanned across multiple files because of the way r3ds are stored and the way that the proxy were generated (to represent the spanned clips). Is there something I can do to get around this? When I try other methods like importing the media first the results are pretty unpredictable on more complex projects. I can do it manually clip by clip but that's annoying if there's thousands of clips to deal with. Below are four files I tried this method on as a test. And the matching Proxy and R3d files in their respective folders. The only way I can do this easily is to relink the r3d folders in Premier then create an XML to import into Resolve. That worked fine. So it's not the files or naming - at least as far as Premiere is concerned.. Any clues would be greatly appreciated on ways to do this same process in Resolve.
  8. I tried the change folder method for an edit that was created in Premier using Proxy media brought into Resolve. That worked fine. The low res media came across. However when I try to "change source folder" to the folder which contains the original r3d files it doesn't allow me to relink the files. I've been told this might be because the Red .r3d folder has a different amount of files to the proxy folder. Problem is it has to have a different amount of files because those clips are spanned across multiple files because of the way r3ds are stored and the way that the proxy were generated (to represent the spanned clips). Is there something I can do to get around this? When I try other methods like importing the media first the results are pretty unpredictable on more complex projects. I can do it manually clip by clip but that's annoying if there's thousands of clips to deal with. Below are four files I tried this method on as a test. And the matching Proxy and R3d files in their respective folders. The only way I can do this easily is to relink the r3d folders in Premier then create an XML to import into Resolve. That worked fine. So it's not the files or naming - at least as far as Premiere is concerned.. Any clues would be greatly appreciated on ways to do this same process in Resolve.