Conforming in DaVinci Resolve

13 hours ago, Nicolas Hanson said:

Just export a regular EDL? Or am I missing something?

OK I got you. Would it work with an xml as well. Or only EDL. 

In lesson 9 Where you talked about importing a preconformed EDL incase u only have only an exported copy to work with. You talked about importing - select - "preconformed EDL"  Does this work with xml as well. Because I also noticed an edl/xml option right above preconformed xml. 

2. Since u have both a preconformed EDL and EDL option separately, what is the difference between these two. 

5 hours ago, Adéyẹmi said:

OK I got you. Would it work with an xml as well. Or only EDL. 

Only EDL.

For your other question, the idea with the pre-conformed workflow is to split a single clip into pieces, just as Kevin demonstrates in the video.

On 9/23/2019 at 6:12 PM, Amada Daro said:

Only EDL.

in lesson 9 he actually says ''a situation where the client has an EDL or XML of their timeline'' (09:05), and ''..and resolve is gonna add the edit information from the EDL or XML from that clip'' (09:30), so it's easy to get the impression that an XML can also be used in this workflow. especially since 'import AAF/EDL/XML' is right next to 'pre-conformed EDL' in the list.

my client recorded in red RAW 4K and edited in resolve using proxies. should she reconnect ('relink'?) to the RAW files and then media manage>entire project>copy only used media, then upload to me for grading in resolve? or is there a smoother way?
the cource doesn't go far into collaboration scenarios

for an upcoming project, either the editor (premiere) or me will be receiving film scans of about half of the media. i have no control of neither timecode or clip names. i gave the producer the advice to let the editor swap out those files (and i would give her some tips on keeping the better quality). but what would be the proper or best way to deal with this if i had to do it in resolve? (i'm a colorist, not primarily a media juggler..)

On 12/20/2019 at 5:56 PM, nicolas horne said:

for an upcoming project, either the editor (premiere) or me will be receiving film scans of about half of the media. i have no control of neither timecode or clip names. i gave the producer the advice to let the editor swap out those files (and i would give her some tips on keeping the better quality). but what would be the proper or best way to deal with this if i had to do it in resolve? (i'm a colorist, not primarily a media juggler..)

Hi Nicolas. You would be better off asking these questions in the DaVinci Resolve forum. 

Some tasks can't be automated and you need some information such as reel names, timecodes etc to have the system switch the correct clips for you. In a professional workflow the conform artist would be involved early in the process and generate the necessary metadata prior to the editing so that the clips can be switched without any issues.

On 2/9/2019 at 1:01 PM, Frits Jan Smit said:

Overlaying a clip to match instead off a reference clip... what I foud out years a ago is to make the reference footge 50% transparant and invert it... you directly see the match which is completely grey... what is not matching will be embossed.

Better still, use Difference instead of Overlay.

Just watched the Avid video, and having read a comment about Premiere, it's really important to talk about getting audio from these programs into Resolve instead of just video only, and any problems you will face. Don't know about Resolve 15, but in 16 any stereo audio from Avid will be dual mono in Resolve and you will have to manually replace it. Things like that should be mentioned.

Edit: scratch that, this is about conforming video for grading/finishing, not transferring edits to do more editing in Resolve. Ignore me.

Fantastic conform course.  Thanks Kevin!