Feature Request - Colortrace within timeline

Hi all,
One feature I'd really like to have from baselight is the ability to copy and paste grades between shots that share TC / reel / etc. In baselight it's called 'multipaste' and colortrace is the closest thing to it in Resolve, but seems less flexible in the way it works. In baselight it is very easy to automatically copy and paste grades between shots in a timeline, so on a recap or tease for example. It's also very easy to set up a grade and then paste it to upcoming shots based on the reel name, but ignoring TC.
If I'm missing some functionality then please let me know, but it seems that the easiest way to do this kind of thing in resolve is to manually copy and paste.
Thanks
Chris

Well, you can copy shots with the Gallery and with the Lightbox. A series of shots would be harder, and they would have to be in the exact same order (which would be unlikely in a single timeline).

I know people who work on episodic TV shows where they basically grade 80% of the show with the Lightbox, just dropping in matching shots where they need to. You can get very, very fast results this way.

Chris;

i start by flagging scenes
for a first pass i set "clips" to show only clips with one flagged color at a time,
then use C mode sort inside that
grade hero's and save to mem's
display lightbox, select all matching clips, apply the mem
copy hero mem's to gallery for safety
go though each set of flagged clips
set timeline to A mode sort, display all clips and hit play for tweaks

likely i have all bumpers and re-cap's done already, but if one pop's up, i can Cmode sort the timeline to find a clip to copy the grade from

i have A/C mode sort, split screen neighbours, lightbox, lightbox to screen, copy/paste, color from one / two before all mapped to my color or transport surface's softkeys as i use them constantly.

i only use colortrace to pull grades from previous episodes, works pretty much flawlessly for that

Thanks Dermot. The A/C mode tip is I've I've already come across, and I love.
Not completely sure I understand your flagging method though. I'll take a look,

the flagging is about short term pain for long term gain... spend the first 1/2 hour to flag similar shots or scenes right off the head of the day makes the end game arrive much faster

maybe an hour setting new hero's, i keep a powerbin for each series of high re-use hero's

on a 1 hr episodic, after the first show wobbles are gone, i'm spending maybe two hours going through flagged subsets dropping in hero's with Cmode /lightbox

so it's mid day and i set up split screen, neighbours / all clips / C mode and step through the show, takes about an hour - looking for things that go bump in the night

then i set the show to Amode / all clips and hit play with the producer's - at this point the only things i'm seeing are stop pulls, flicker, some small things, takes about two hours, at the end the day is done and so is the show

useing split screen / neighbours is only really workable with a55" screen or larger, i find a 25" to be too small - each of the four shots is too tiny to be usefull, and only workable if your machine can run 4x streams RT.... so really useful on power tools with good monitors, frustrating on borderline machines with a 25" screen

Hi all,
One feature I'd really like to have from baselight is the ability to copy and paste grades between shots that share TC / reel / etc. In baselight it's called 'multipaste' and colortrace is the closest thing to it in Resolve, but seems less flexible in the way it works. In baselight it is very easy to automatically copy and paste grades between shots in a timeline, so on a recap or tease for example. It's also very easy to set up a grade and then paste it to upcoming shots based on the reel name, but ignoring TC.
If I'm missing some functionality then please let me know, but it seems that the easiest way to do this kind of thing in resolve is to manually copy and paste.
Thanks
Chris

+1

shots that share TC / reel / etc.

The first commercial releases of BMD Resolve featured the default behaviour of referring to a master timeline that became hidden in later versions. A grade applied to a clip anywhere in the sequence was applied everywhere else footage from that clip was included. This was the so-called Remote grade, and to depart from it required a colorist to select the "Local" grade. It was complained about, so what we have now is default "local" -- I'm on the "local" viewpoint. A Bulk Barn Blanket correction would not be acceptable to my clients, who expect international A-list agency commercial grades. After the look and match, I now spend entire days fixing prosthetic and makeup defects that require exotic secondary qualifications, roto- and boolean masking, which a ColorTrace from a previous clip or episode may start the conversation, but is barely a "hello."

jPo, CSI

JP:
i'm talking episodic, where we have one day to get through a 48 min show..

there's a few commericals running on your local stations in victoria that i've spent more than 100 hours on 5 shots that run in 30 seconds

pizza's. politicians, beer and banks..... each have 100 hours or more for 30 seconds, and tons-0-masks

for episodic that has a one day budget, i can get through a episode in one day, nowhere near the level of attention to detail that the budget for a commerical allows, but usualy episodic is shot pretty tight, camera's match from the get go, and ACES is a big help on that file anyway

I use A/C ordering and scene grouping