I can open the file outside of DaVinci with VLC just fine, and it plays both audio and video. "I recently updated to DaVinci Resolve 16, and every time I import a mov video file I only get the audio track of that file.
mov files import as audio only and I cannot seem to find how to have both audio and video to import." "Now with my new fresh install of DaVinci Resolve 16.1.1 (16.1.1 and earlier was the versions I had no problem importing and editing these same.
Most of the time, you can only add the Apple MOV file the timeline of DaVinci Resolve as an audio track, instead of a video track. But the weird thing is that, sometimes you will find it a painful experience for DaVinci Resolve to import MOV files created by iPhone, GoPro, Canon camera, DJI drone, iMovie, Final Cut Pro, and more. MOV file format seems one of DaVinci Resolve supported native video formats for import. It is one of the few applications on the planet that can take anything you throw at it.
Editors are a big fan of this time-saver.DaVinci Resolve is a wonderful video editing tool especially with the most advanced color corrector. I have had success with rebuilding speed ramps quickly with little to no effort when using Resolve to edit and color. It's inherent to how much material is rendered and the position of the original keyframes. If the ramp is originally spanned over 1 min of material, sped up to 15 sec with keyframes, and then cut up into 3 clips, ~4 seconds each, and you render 3 4-sec clips with 2 sec handles, you'll never be able to get the keyframes to paste in any sort of decent fashion. On other frame rates its really hit or miss whether or not Premiere is even calculating the right timecode to begin with, let alone through the speed ramp.Ģ) Duration of source media. On 23.976 material, never a problem until you do speed changes. This is very apparent in the Adobe forums where users have asked Adobe for years now to fix timecode calculations to match FCPX, FCP7, AVID, and Resolve. The basic problem with speed ramps is two-fold:ġ) Premiere does not calculate timecode the same are Resolve, or even consistently. We don't use Local Grades for many reasons. Our workflow is a little different in the actual resolve project, so a clip that has 4 cuts in it for speed ramps actually shares a common media clip and color. Through the years I've tried many things and had no success to mitigate this issue other than instructing our re-occuring clients to use straight-cut speed ramps during the offline edit, and after color rebuild and do the fancy keyframe ramps. We use a similar workflow in guidance with our clients.
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