Preparing dailies in Resolve

This is for the DIT, data manager or dailies colourist delivering dailies to an Oropod project from DaVinci Resolve. Oropod reads the metadata export Resolve already produces, so most of the work is filling in a handful of fields consistently and exporting once per shooting day.

Until metadata arrives, Oropod still lists and plays the files, but browsing by day, scene, shot or tag finds nothing, so it is worth getting this right before the first shooting day rather than after.

Filling in the metadata

Select the clips in the media pool and fill in their metadata in Resolve’s Metadata panel. A value typed with several clips selected is written to all of them, which is the quickest way to set the shoot day for a whole card.
Scene, Shot, Take and Camera # drive most of Oropod’s navigation
Shoot Day carries the shooting day and date, written as e.g. D12 2026-08-13 (day 12, on 13 August 2026), which sets both in one go. A plain day number works too, and Oropod then takes the date from Date Recorded, the camera clock, which is often wrong.
Keywords maps to tags. They are free-form, so it’s a good idea to agree on names in advance, for example vfx, plate, 2nd unit or pickup. Oropod users can then filter by them.
Resolve enforces no format on any of these fields, so a shoot day it can’t read is listed in the metadata view but not available for navigation

Marking circled takes

Mark the circled take of each setup as a Good Take in Resolve, or add circled to its Keywords
Oropod builds the Circled takes in scene order playlist from this, giving an automatic rough cut of the whole project, and uses it to pick the poster frames behind each day, scene and shot
A clip marked Rejected is not circled, but that doesn’t cancel a circled keyword, so don’t use both on the same clip
The circles usually start with the script supervisor, so agree early on how they reach Resolve each day

Exporting the metadata

Select the clips in the media pool and choose File > Export Metadata From > Selected Clips, or Media Pool to export everything
Set Resolve’s interface language to English before exporting. Other languages export translated column names, which Oropod can’t match.
Resolve decides which columns to export: every field filled in on at least one clip is included, and fields left empty everywhere are left out
Leave the file as Resolve wrote it. Opening it in Excel or Numbers and saving it again can turn it into a semicolon-separated file, which neither Resolve nor Oropod can read.
One export per shooting day is a good default, keeping each file small and easy to replace later
Give it a predictable name, such as D012.csv, so a corrected export can replace it exactly

Uploading the export

Upload the CSV to the project’s storage together with the clips. A Frame.io project, an Oropod Storage workspace and a network disk all work the same way.
It can go in any folder, and does not have to sit beside the clips it describes
Rows are matched to clips by the File Name column, ignoring the file extension and anything after it, so an export listing A001C001_161024_R54M.mxf still matches the A001C001_161024_R54M_ProRes.mov you uploaded
Oropod imports the export on the next sync

Correcting an export

Re-export and replace the file, keeping the same name and the same folder, and Oropod discards everything the old export said
Uploading the correction under a new name instead leaves both exports in place, and Oropod merges them rather than choosing between them

Checking it worked

Open the project in Oropod. Days, Scenes and Shots stop being greyed out once the first export has been imported.
Spot-check a clip’s metadata view: the lens, ISO, aperture and white point shown there all came through the export, which makes it a quick daily check that camera metadata survived the transcode