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Frame io davinci resolve11/7/2023 With the second option, the timecode and frame rates would match throughout, so only one render batch is needed to create the proxies. You will also have to create matching sets of proxies for the mezzanine files, so that render times don’t add up to ridiculous levels. This route can be tricky, though, as it requires that you understand how to maintain the quality of your original files across different workflow processes. You can create mezzanine (high-quality intermediate files) versions of your footage, which maintain the quality of the original camera files, but also have new timecode based on the changed frame rate settings. For most high quality camera files this can be a dealbreaker, but there are some options for relieving this issue. In the first option, since you’re changing the native frame rate, you will break the timecode link between the proxies and original camera files. Let’s quickly look at these options, their uses, and their limitations. Neither choice is “wrong,” but do know that the standard choice for commercial workflows is to match frame rates to the original camera files in order to preserve timecode (option 2). In the first option, you’re just changing the native frame rates to match the project settings, but in the second, you don’t change the native frame rate, even when you transcode the files to another codec or resolution. You can either match the frame rates with clip attributes or you can keep frame rates native. As with editing, there are two schools of thought for making proxies from Resolve when it comes to frame rates. If you’re creating proxy files to edit in another NLE, there are several important considerations regarding frame rates. Now that we’ve discussed the various workflow options for working with frame rates before editing in Resolve, let’s move on to creating proxies. This is part 4 of our 5-part series on editing with mixed frame rates in DaVinci Resolve.
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