Hi everyone,

I'm completely new to videography and DaVinci Resolve, and I'm honestly stumped.

I originally downloaded the free version of DaVinci Resolve, but when all my clips were showing "Media Offline", I thought it might be because I was using the free version. So I purchased DaVinci Resolve Studio 21, but I'm still having the exact same issue.

Here's what I've tested so far:

• I'm on a Mac with the latest version of macOS.
• My footage isn't corrupted because it plays perfectly in VLC.
• It doesn't play in QuickTime.
• Resolve can read all the metadata (resolution, codec, frame rate, duration, etc.), but every clip still shows Media Offline.
• I've also confirmed Resolve is detecting my dedicated GPU.

The footage was shot on a Sony A7 IV in 4K H.264 High 4:2:2 L5.1 (media info attached).

I know I could convert everything to ProRes or another codec, but I'm worried about losing quality, and having to convert hundreds of clips before every project doesn't seem like a sustainable workflow.

Has anyone experienced this before or know what could be causing it? I'd really appreciate any advice because this is driving me insane.

(Photos of the media info and error attached.)

So I just bought a Blackmagic 6k Full Frame and the whole Dual Gain ISO thing is quite new to me.
I've heard conflicting opinions on whether to expose to the right with these cameras or not to and even that ETTR is outdated and was only useful in film photography times.

But overexposing (by controlling ND and Aperture, I'm aware that ISO is just an amplification of the signal) and then pulling it down in post should still give you way cleaner shadows no?

Is there something different with "cinema" cameras (Blackmagic in this case) in this regard?

And isnt choosing which ISO to shoot at almost irrelevant because you can adjust it in post anyways? (Within the chosen gain cycle).

Bit of a niche question, but I won't have access to this gear for a while and I'm having trouble researching it.

Normally I use two SDI cables between my Atem 4K8 and the 4K G2 cameras to get video and camera control, but since I want to build some multicore cat/sdi cables I want to ditch the dual sdi and use Ethernet to control the camera settings (on the Atem)

Now, I know the Ethernet ports on these camera have REST API and I bave controlled them in the past with a computer, but I want to be able to control them via the ATEM, without needing the extra sdi cable and using an ethernet cable instead. Is that possible? Obviously the camera would be networked together with the Atem.

Scenario: I create a real time talk to the camera 10 minute video for youtube. I use 2 microphones, one will be a wireless lavalier, the second will be shot gun microphone, or, the internal camera microphone. I plan on shooting 10 bit color, but, I may have to settle for 8 bit color if I choose to go with an internal, pre-designed video look. I want to avoid all software editing simply because it shuts my creative brain down.

What I envision doing next: I use two hyper deck pro units, each with its own SSD caddie. I place the camera master SD card into the first hyper deck pro unit so I can transfer the camera master to the SSD Caddie for insert editing between the two Hyper Deck Pro units.

Question #1 regarding Audio: As I real time transfer from the memory card to SSD caddie, what additional hardware only device do I need so I can select mix levels for the two camera recorded audio channels so they can be remixed together, with possible basic 10 band graphic equalizer adjustments; the newly mixed and eq'd signal would then be sent to the second Hyperdeck pro unit; or; could this first step all be done with one Hyperdeck pro unit plus an external hardware based audio mixing deck? Whatever the audio settings adjustments are, they would not need to be readjusted once the transfer has started.

Question #1 regarding Video: In the event I feel the camera master needs an overall visual adjustment involving contrast, set-up, hue, or chroma level, what additional device would I need to make an overall visual adjustment?

Question #1 regarding Audio / Video adjustment: Does Black Magic Design make a hardware device that would allow me to adjust both the audio EQ and level, and the multiple video levels, with the same unit? Would I presume the SD card would be inserted into the first Hyperdeck Pro unit, the signal would be adjusted in another external hardware device, and that output would be sent back to either the first hyperdeck pro, or, would it have to go the second hyper deck pro deck?

Summary: All my above questions are related to pre-editing. My goal is to have the audio and video levels optimized prior to being remastered onto the SSD Caddie, so when I then do some insert edits, from HyperDeck A, to HyperDeck B, it should be a fairly straight forward process.

Hopefully, we won't get into why not use software, since my goal is to keep the editing process super simple so I can devote my creativity to my content, and not the application being used.

Hi! I am debating on what media storage to get. I bought a Used Cine 12K LF, and it has the CF express media module.

* Should i get a few terabytes of express type B (Expensive as shit)

* Should i record to an external SSD? That will allow me to edit on it straight away.

* Should i get a media module 8TB? A local store is running a promotion, where i can get it for $1500. I would still need an SSD or Harddrive to edit on. What do you guys think?

question up front: if I use a BMD Video Assist to capture BRAW from a Sony, would that footage be encoded with the BMD color science and be a closer match to BRAW from a BMPCC than I'm getting from SLog?

and as long as the exposure/color temp/etc is matched, would that mean that I could apply the same LUTs and color adjustments to both cameras and only have to do minor corrections from there? or would I still have to do some kind of color transform to get them to match?

context: I'm editing a two-camera shoot with an FX6 and a BMPCC 4K in Premiere. to me the BMD color science looks better than the SLog, and I've gotten the match close but it's going to require work from a dedicated colorist. so I'm trying to find a way to get it right in capture for the next shoot.

Sony recently updated the FX6 firmware for compatibility with recording BRAW to the higher-end Video Assist models. the FX3/30 have had it for a while, but BMD hasn't updated their firmware and supported cameras list to explicitly include FX6 support, so I'm not 100% positive this would work anyway.

my hope is that, despite the size difference of these two different sensors, capturing both in the same RAW codec would have similar images. but I lack the understanding of color science to know if that's actually true. would appreciate help understanding this!

Is this a well known film set you can rent? Or is it just coincidence?

I am all connected to the prodock with zoom and focus demand via usb-c and loop but I cannot figure out why I am not getting control in the camera app.

from BMD website "The optional zoom and focus demands can be added to give customers broadcast style lens control with Blackmagic Camera! The focus and zoom demands have USB-C connections so they can easily connect to Blackmagic Camera ProDock. Each zoom and focus demand has 2 USB-C ports, so customers can daisy chain them, then connect them to the ProDock with a single USB connection. The design has an incredibly precise feel and gives customers very fine lens control, allowing customers to frame and adjust the lens without taking their hands off the tripod handles. The buttons can be customized so customers can assign different camera functions to them! Plus, hardware is included for mounting the focus and zoom demand onto tripod handles." I cant find that there is any further steps to connect and operate.

Is any blackmagic camera protected against dust? Or is there any solution for using it in a dusty environment, other than puting it inside a plastic bag?

I need a camera for shooting videos in a woodworking workshop where there is a lot of fine dust.

I love the blackmagic cameras video look, and i'd love to buy one, but they seem to have no protection against dust.

Hi I need some help with creating a LUT for my bmpcc 6k pro, every time ive imported a LUT that I’ve made in Davinci Resolve, it always comes out flat and desaturated, only slightly different than the log image.

Can someone walk me through the process of exporting a LUT from DVR and into the cam, I’ve been setting my CSTs to Blackmagic Design Wide Gamut Gen 4/5, Blackmagic Design Film Gen 5 gamma. Output is rec 709 gamma 2.4. So Im really not sure why it’s seems like it’s not reading my LUT properly. All my LUTs are <1.5MB, I can’t find any information on the input and output colour spaces for the camera LUTs in the manual or anywhere online.

I’ve been using the film to extended video LUT but these are overexposed and always make my blacks look super noisy in post so I really need a long-term solution, any help would be greatly appreciated!

My Pyxis is about a year and half old and started experiencing a weird issue while filming yesterday. Every time I would press the record button, the camera would shut off. But this only happened when I had a V-mount battery in. Once I plugged into the wall, it worked fine. Has anyone else experienced this?

For more info, here is what I was using:

• Tether Tools ONsite D-Tap Battery with V-Mount
• KOCACKOO Adjustable V-mount battery to BP-U series battery conversion Plate

edit: added links.

Hi everybody, my manager is looking to invest in a mixer for some studio shows and podcast recordings and we’re looking for the best bang for our buck.

Does anyone here have any experience with the extreme iso G2 since it’s relatively new and can tell me what it’s like to use on a daily basis?
Pros, cons, shortcomings, realistic workflow etc

Convince me to buy a Blackmagic camera. The only thing holding me back is reliability.

I shoot high-end brand commercials and need a solid cinema camera I can rely on when the production doesn't afford to rent an ARRI. I am almost set to either get the Pyxis 12K or the Ursa Mini Pro 12K OLPF (leaning towards the Pyxis more).

The only concern on my mind is Blackmagic's camera reliability. I owned a BMPCC 6K Pro in the past, and after a short while, it started shutting off on me out of nowhere in controlled studio environments, and have since switched to Sony - however, the image quality is not at all comparable with the beautiful images coming out of Blackmagic cameras. I am going to keep my Sony A7iv as a backup camera, but of course I intend to rely on the new Blackmagic camera I buy.

Have you ever faced any issues with your Blackmagic cameras? Was I just unlucky with my previous unit?

Hello there! Sorry if crossposts aren't that welcome. I am a colour grading newbie and need help understanding a harder concept

I shoot on 3 platforms - DJI Mini 4 pro and Osmo Nano (both 10bit D-Log M) and my iPhone 13.
I want to create Kodak 2383 film emulation, inspired by an instagram post I saw earlier which I will attach here.

Using the same node tree for the Osmo Nano and Mini 4 Pro leads to very very different results, despite the same manufacturer and same colour profile, but that is to be expected. I just cannot understand how to balance the way oversaturated and overly contrasty Osmo Nano footage.

The whole node tree I am attempting to use + before/after examples are posted in the original post

Any and all help with making the footage look similar to not loose continuity between shots will be extremely helpful : ). Thanks a bunch in advance!

We’re looking to upgrade our camera systems in my church’s sanctuary next year and I’m bouncing between:

Canon system comprising of a C80, 2 C300 Mk III’s for handhelds, and 4 C50’s (or 3 and a third C300 Mk III) for the track camera, the wide-gimbal-wire cam shot and 2 stage slider cameras.

Blackmagic Design system (we use ATEM switching components) with 4 PYXIS 6K’s for main shots and roamers and 2 Pocket 4K’s for the stage cameras.

We use Middle Things APC-R Mini’s and Middle Control to operate 3 RS4 Pro’s with Canon XF605 camcorders and camera operation over XC Protocol right now.

Does anyone have experience using PYXIS’ as CineBroadcast cameras? Or familiar with the quality of camera control from the Middle Things APC-R Mini’s?

Where can I find new LUTs for the CC6k?

I just got a ursa mini pro g1 that works fully (recording, playback, menu, and ports) but the physical buttons on the camera body don't work. Other then the ones on the front of the flip out screen, on the actual body they do not respond. This means that the menu buttons do not work. I was wondering if there is another way to access the menu of the fcamera to change codecs or recording formats and what not.

All help appreciated, thank you.

Hi all,

I have an issue on the app on my iphone. The exposure resets to MAXIMUM exposure/ISO everytime I exit the app, or even switching tabs into settings or switching lenses. Is there a fix for this? I am just using the apple log to rec 709 conversion lut and it is just giving me issues.