In Source mode, each clip is rendered at its native frame rate, for handoff to another NLE or finishing application.

When rendering a Mixed Frame Rate timeline, how the media is output depends on whether you render to Source or Target mode. (Both settings are also in the Master Project Settings panel of the Project Settings window.) After you import your AAF or XML file with mixed frame rate media, you’ll want to make sure that your “Playback framerate” is identical to the “Calculate timecode at” setting for optimal performance. You have to turn this checkbox on before you import an AAF or XML mixed frame rate project (to learn why, check the manual). Resolve 9 lets you mix and match whatever frame rates are necessary within a single project, so long as you turn on the “Handle mixed frame rate material” checkbox in the Master Project Settings panel of the new Project Settings window (available by clicking the gear icon in the lower left-hand corner). Prior versions of Resolve were constrained by only supporting a single frame rate in a particular project, but no more. And as you may or may not know, mixing frame rates can be rather challenging when it comes to finishing, since you can ultimately only output one frame rate as your finished media file or tape output. Most NLEs let you edit any kind of footage you want together into a single timeline, regardless of frame rate. Mixed frame rate media has been a frequent hassle in projects I get from clients. (The lead engineer reminded me of, how could I have forgotten, the updated video scopes, which are so pretty I had to add a screenshot.) Mixed Frame Rate Supportįor me, this is the single biggest new feature in this release. Many of the new features have already been shown and discussed, but there are even more features being shipped then have been talked about previously, and I thought it’d be nice to highlight six seven of those in this post. So, Resolve 9 has finally been made public after much anticipation since its unveiling at NAB.

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