My general advice for DSLR workflows is:ġ) organize all the files by shoot date and camera card number, so each file folder would be A1_03112019 Ģ) add a unique prefix to the heads of every file to create easy-to-understand file names (like “A1_03112019_C0001,” “A1_03112019_C0002,” etc.).ģ) transcode all of these Long-GOP H.264/H.265 files to a high-quality codec like ProRes 422HQ or DNxHR, and keep the file names and folder structure exactly the sameĤ) archive the original files somewhere safe, just in caseĥ) do the entire edit with the transcoded files and consider them “the new masters”Ħ) now, when you do the conform in Resolve, every file will have a unique file name and even though the camera timecodes will still start at 00:00:00:00, there will be no conflicts because of the file names.ħ) it helps greatly to have the editor create a reference file that has visible timecode and filenames for source files, as well as record timecode for the project itself. Generally, all the DSLRs out there shoot H.264 files, which is not a great format for post. Is this free Resolve or Resolve Studio? The latter supports more formats than the former.
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