Imported all the Proxys from the Media Page into a new bin. Create a master timeline with all my footage in it, selected all clips, disabled "conform lock". So what I did in that case was, set up my project with all the ARRI RAW files in it.
I already tried all of your suggestions and tried to find out what advantages every of them would have in my workflow. Hi guys, first of all thank you for your thoughts on my problem. MAC OS Davinci Resolve 15.2.1 Attachments Bildschirmfoto-um-20.53.05.jpg (895.85 KiB) Viewed 3612 times I hope anybody has a workaround for this as I'm dealing with this issue since a while now. And yeah I also want more performace than using Resolves proxy (half or quater res) mode.
Also it happend a few time to me that resolve crashed and I couldn't relink the optimised media witch was also a pain (escpecially if you have 8TB footage to transcode) so I prefer the classic way of working with proxys. I know there is the function to generate optimised media but as I'm coming from Avid and Premiere Pro I need the option to work on other workstations as well and I didn't found a workaround to move the optimised media easily from workstation to workstation. I don't know if it has anything to do with the filename as the ARRI RAW files have the Framerange in the filename or not but it seems like I can't get a workaround witch sadly is a resolve killer for all my projects shot on Alexa. Usually that works perfectly but in the case of ARRI RAW it's never relinking although the Reelname, Timecode and Framecount are perfectly in sync. I imported the footage in the media page and usually make proxys straight away by exporting the files to ProRes422 Proxy or DNxHD LB and relink them afterwards by making the media offline and relink them in the media page.
I have a project shot on ARRI ALEXA XT, HAWK Anamorphic 2x, ARRI RAW.
But ARRI RAW files have made me work on other NLEs for the below explained reason. I'm now editing in Davinci Resolve, since around a year.
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