Delivering timeline with in/out points

I recently needed to output a video with a few seconds of black at the head and tail. So I set my in and out points in the timeline accordingly, and in the Deliver page set it to use these in/out points. Resolve seemed to disregard my out point since it was a few seconds after the last clip. The video ended on the last clip with no black afterwards.

I was able to devise a work-around, but I am wondering what is the proper way to do this?

In the Edit page, have a look at:

Effects Library | Toolbox | Generators | Solid Color

Add a Solid Color clip at the end of your timeline.

Alternatively, in the Edit page you could add any video clip at the end of your timeline, and change the clip's Opacity to 0 (zero) in the Inspector.

-

Thanks, Peter. Glad to see another Portlander on here!

In the Edit page, have a look at:

Effects Library | Toolbox | Generators | Solid Color

Add a Solid Color clip at the end of your timeline.

Alternatively, in the Edit page you could add any video clip at the end of your timeline, and change the clip's Opacity to 0 (zero) in the Inspector.

-

This issue in the Delivery page has been previously reported in another thread here.
What Peter has described above is a workaround to the In/Out points being ignored in the timeline of the Delivery page. Another workaround is to cut the clips in the Timeline Editor at the desire In/Out points previously to switch to the Delivery page.
The In/Out points in the Delivery page used to work in previous versions of DR. It's now a bug in the current version.

Add a Solid Color clip at the end of your timeline.

Being an old telecine guy, I always have a TAIL POP at the end of my projects, which is actually a rendered piece of black with a pop 2 seconds from the last frame of video (LFOA as the film lab people say). I created some files specifically for a tail pop, which are here free at this link:

https://spaces.hightail.com/space/aSyCR

If the client doesn't want it, they can always chop it out before air. If I'm rendering a final delivery version, that wouldn't go on the master, but it would go on the final color-corrected version for archival storage.

TAIL POP at the end of my projects

I do this a lot, as well... it can make a difference when you start also generating versions and transcodes.

The biggie is render X fps @ Y fps; the infamous 23.98@25 being the biggie for a number of distributor deliverables that has been a near-constant math problem for the past couple of years, at least for me.

jPo

I do this a lot, as well... it can make a difference when you start also generating versions and transcodes.

It's also helpful for sound mixing people or whoever is prepping the final deliverables, since they can verify a 2-pop at the head and a 2-pop at the tail. Once you have that and you know sync is good, snip those off, render the deliverable, and you're done.

I gotta say, SMPTE and the film community were pretty smart to come up with the 2-pop 90+ years ago.