My Little DaVinci Wooden Picture Frame for 50 Artworks | Display or Hang Your Kids Artwork A4 (Natural)

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I have some footage recorded at 60 fps, when I preview it in Media PLayer or VLC it runs smooth. Now the weird parts start to appear when I import it into DR. A few things happen: Write a little command line script to delete every third frame, then renumber the remaining frames to close up the gap. I also rendered a Motion Graphic in AE at 59.940 and it played smoothly on AE, but same issue happened on DR. Gang Luma Chroma: This parameter determines whether the Luma and Chroma Threshold sliders are linked together. Sorry I was not fully clear. I did mention the footage recorded was 60 p (59.94) 4k. When its 24 p it runs smooth.

I even converted it to a ProRes and Mov file to use in FcPx and still the same red thing occurs. I have tried relinking, unlinking, changing source folder, etc etc yet the problem is not going away! For typical 23.98 to 29.97 conversions of a discrete clip, that would be true. But you should see the kinds of garbage masters that the agency's client will sometimes provide to me that was made by other post vendors. These are typically edited masters that have been edited with the same type of badly converted footage, so there is no predictable cadence to the repeated frames. It requires a full, frame by frame analysis of the entire clip to even begin to remove them. I'm on an iMac Pro running Catalina (a beta developer version, but I try not to blame Apple first...). Motion Range: This setting offers three options: Small, Medium, and Large. It allows you to choose the speed of motion in the frame that should be detected. What are you using that produces ProRes files at 119.88 FPS? I attempted to replicate your configuration, but my Ninja V maxes out at ProRes 59.94, and similarly, transcoding from H265 to ProRes wasn't an option either since DaVinci Resolve doesn't support ProRes export, and Premiere Pro's implementation of ProRes maxes out at 59.94 as well.

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But don’t worry, all is not lost. In fact, there’s good news to be had. The post-production software at your disposal, DaVinci Resolve, is a remarkably powerful tool that’s perfectly capable of correcting this very issue. Needles to say, but I will anyway, that I tried also rendering the lowest quality of optimized media, and quarter of a proxy (wich it should run super smooth with my laptop specs, but again, not at 59.940) I have to insist that this only happens in Da Vinci Resolve, and ONLY happens with the 59.940 resolution. If it helps, I noticed it happens the most in PANS OR TILTS. I'd futzed with the video cards (2 eGPUs running on the TB3 ports + the 8G version of the internal card...); and so I returned the settings to 'auto' as before. Note: Resolve, Neat, and other apps have mixed success with the eGPUs, but I did not bother to remove them (yet) In Resolve, you can try using the Resolve FX Revival Frame Replacer FX Effect to replace the missing frames. It can do a pretty good job, depending on the source material and how bad the missing frames issue is.

PleaseSupportProResRAW wrote:I apologize for the silly question, but for my sanity I have to ask: you're seeing a green 119.88 indicator in the upper left corner of your source monitor as you preview your video?PERFECT SIZE – Made specifically for the most common paper and photo-print sizes; A4 and A3, My Little Davinci Frames are designed to suit your little one’s finger paintings, or your favourite print or photo. Our A4 frame measures: 37.5 x 29.7 x 3.4cm and our A3 frame measures: 49 x 36.6 x 3.4cm Issue: Tried different footage from different cameras, all recorded at 59.94. All of them run choppy at DR (either the source monitor, or timeline) but it runs perfect on any media player, or even in Adobe Premiere Pro. Mo.Est. Type: This parameter allows you to choose the method DaVinci Resolve uses to analyze the image and detect motion. The available options include Faster, Better, and None. The default setting, Faster, is less processor-intensive but may be less accurate. The Better option provides greater accuracy but demands more processing power. None disables motion analysis altogether, which can be useful when there is no motion in the scene. The default option is Better. They wouldn't even need that. If it's 23.976 fps footage that's been converted to 29.97 fps, then there's going to be six duplicate frames per second and they would be in the same pattern. Resolve would just need to grab one second of the clip, and subtract each frame from it's previous frame and mark the six frames with the lowest differences as duplicates to determine a pattern. Then they'd just need to continue that pattern throughout the clip.

I have exactly the same issue as the original poster and I've never seen anything frustrate me more than this when it comes to editing. The clip plays fine on BRAW player, but as soon as I move it to a timeline on Davinci (Studio) it shows media offline. Now, this is only on random parts of random clips within a group of footages which is what confuses me. clip C001 may play just fine but C002 would play the first 4 seconds with no issues and then the annoying RED media offline intermittently flashes for the remainder of the clip.

As of yesterday I started an editing session with some new 60fps ProRes 422 1080p footage - and ran into the 'speed up faster than 60fps, and then freeze/pause to 'catch up', repeatedly every second or so throughout the clips. If I go to clip attributes and switch it to 24 fps, and drop it into teh 60 fps timeline, the video runs smooth, no drops 24 FPS full green light, BUT in slowmotion of course. You can also do the same operation when the clips are placed in the timeline. Just select your required clips and select “Clip Attributes”.) Ole Kristiansen wrote:"Ole try not to get upset. We are ttrying to take this discussion as adults."

When you say they play normally outside of Resolve, what does that mean? With the BRAW Player app? If so, when it encounters dropped frames, it will freeze on the last good frame, and unfreeze on the next good frame, masking the dropped frames. You can verify this by finding an offline frame in Resolve, and then single frame stepping through that same area in the BRAW Player app. You'll see that it's freezing around the missing frame. Your options are either shoot in the timeline frame rate, or slow down the footage to an even multiple of the timeline frame rate, or use optical flow rate confirming which attempts to synthesize new "in between" frames rather than discard frames. It has a computational cost and sometimes may cause artifacts. Search the Resolve manual for "frame interpolation". Import the newly filtered image sequence as a new clip in Resolve, then render it out to a video file.The laptop is optimized for performance, and it’s always used with cable current I disabled all the power saving modes. Yes, I have a solid green indicator light. I tried it at HD and UHD timeline resolution and source media resolution with no changes. I'm happy to try with your media and a sample project if you can share them. If you're working with cell phone footage, the best course is transcoding it at the outset to a codec better suited to editing.