As you will see the first shot is all pretty basic when transcoding to HD Proxies. Its the second screen shot you'll want to pay the most attention to: Here's a screen shot of my basic settings.
Only upside is when this happens to me on commercial projects it's not the end of the world since the TRT is usually under 1 minute and manually onlining doesn't take very long. This scenario sucks on many levels with one being when you have a deadline nearing with an edit timeline TRT that's over 20 minutes long. Worst case scenario would be to not specify any conform options, transcode your files, finalize an edit and then have Resolve not relink back to your native master files. This should ensure success with relinking your proxies back to it's native 4K, 5K, etc. Setting up your Resolve Master Project Settings is key when transcoding with Red files. AAF/.XML of your finished edit back into Resolve for the actual online process. So in this blog I'll list a few MUST DO's in and for Resolve, and then about bringing your. From this process alone I've found that it works somewhat differently between editing programs. I currently only use it for transcoding Red footage into HD proxies and then again for going back to 4K.
Based off my experience with Davinci Resolve, I have to say my relationship is a love/hate one.
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