Unlock the Import XML/EDL/etc.

Is it possible to unlock some of these parameter so they could be changed?

If I understand correctly, it takes the framerate set for the whole project.
And since we can create anytime timeline with different fps from the media pool, having to change the default settings of the project to important these xml is not very efficient.

and btw, another reason why we should be able to set any framerate, I can't import an XML because the video has a 10 fps framerate.

and btw, another reason why we should be able to set any framerate, I can't import an XML because the video has a 10 fps framerate.

Who would edit with a 10fps framerate? To my knowledge, you can't play it anywhere in the world.

My solution to that would be to have the client provide a baked-in file at whatever framerate they want, and then we'd figure out a way to deliver it to the usual online services, like YouTube, Vimeo, Facebook, whatever. And most of them require either 23.98fps, 24fps, 25fps, or 29.97. 10fps is not an option.

We don't have a phrase in our client contract that says, "all edit lists and XMLs must have industry-standard framerates and aspect ratios," but we probably should add one.

10 fps videos can't be played anywhere in the world?

The thing is, you're too fixed on your own industry.

When I talk about these things, it's mostly about creative freedom.

In my case, I edit for money, and I edit for fun too. But for all my FR, I remove these concepts of "industry standard" and "clients." Because they are not really relevant and they only apply in contexts where there are specific sets of rules people need to follow to be efficient while working with different people.

In this day and age, this framerate thing is an arbitrary limitation. Silent films were filmed at 12 to 16 to 18 fps (20–22). Whatever. 

The point is, we couldn't even edit a scan of these films at their native framerates with Resolve today. It starts at 16 fps, goes to 18, and jumps to 23.927. Exposing 50 frames per second consistently and playing back at this speed was pretty much impossible.

The limitations of the past were physical. Software (like Da Vinci Resolve, for example) is just an abstract layer and not tied to any hardware. And it should be even more flexible.

There are displays that have weird shapes. From a super-low-resolution LED matrix panel to some skinny OLED 2-meter LCDs on a building. Hardware is clocked at 264 MHz, or whatever. 

And that's about the creative aspect of it.

Now we can talk about the technical reasons. Many videos are just poorly shot or just have low framerates, like many security cameras, old video recorders (phones, camera, anything that can record videos). I have to deal with old, hours-long videos shot on older phones, cameras, or webcams that were recorded at 8 fps, 10 fps. I even had a video that was 8.391 fps.

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- Topaz Video AI sees it how it is, and can upscale it and export it at the same frame rate. I give you an extreme example here. Just to show that there is 0 technical limitations.

I'm pretty sure that at your job, you want to be able to work with the native resolution and framerate of your footage. Before doing any type of interpolation (if needed). For archiving purpose or for something else. Be the closed possible to the native framerate of the original file.

I sometimes export image sequences at a very low framerate because otherwise, it would take me 2–8x more time to do the export... that can be a whole day then..., with almost no upside, because I have another workflow to get perfect interpolation to get to a higher framerate "after" my initial work.

I often batch-process these image sequences with Affinity photo instead of being able to use the tools like like in Davinci Resolve. This workflow is limited because the grading/changes are the same for each frame.

But all of these "workarounds" are still a waste of time that could be put into real creative work.

I could export at 12 fps, put it on a 24fps timeline, do all my work on the color page, export the image sequence, and manually delete every other files. But these "calculations" and actions are literally what computers are made for.

I know people who are doing stop motion, and 10 fps is their sweat spot. They can't work with Resolve. I told them they can use Fusion standalone since we can set any framerate. Many people don't know that their Resolve license works with Fusion Standalone too.

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But I can tell you how lost some of them are when opening Fusion for the first time (if the bother installing it).

Why go through this when we could have a : "Custom" - for the framerate (like with the resolution). It's simple as that.

The Fusion nodes that can manipulate colors in Fusion are better than nothing, but they don't match the color page of Davinci Resolve. It's just a hack. You need to be aware of this possibility, and it's still very limited. (and that's a Studio license too...)

Now back to my FR after my rambling... I don't see the reason today to lock this part in the import window.

It's just a simple fix. Having to constantly change the project settings for that is not a good workflow, especially when they introduced the possibility to create a timeline from the media pool. The constraints on the project settings were lifted a while ago already.

10 fps videos can't be played anywhere in the world? The thing is, you're too fixed on your own industry.

Naw, I just live in the real world.