FORUMS: list search recent posts

Proven mixed-rate workflow?

COW Forums : DaVinci Resolve

<< PREVIOUS   •   VIEW ALL   •   PRINT   •   NEXT >>
Danny Thompson
Proven mixed-rate workflow?
on Nov 11, 2013 at 6:29:41 pm

So I wasted most of Friday trying to get a short timeline into Resolve that had 29.97 and 23.976 materials mixed together.

I am editing in FCP7 and using Resolve 10. Resolve is really finicky when it comes to all the settings that pertain to mixed rates and handling.

Can anyone give a hand and write up a solid workflow for mixed-rate FCP timelines?


Return to posts index

Juan Salvo
Re: Proven mixed-rate workflow?
on Nov 11, 2013 at 7:35:03 pm

Here's a REALLY solid one:

Don't mix framerates in Resolve.


Convert the clips that aren't in your target frame rate before hand.

http://JuanSalvo.com
http://theColourSpace.com


Return to posts index

Danny Thompson
Re: Proven mixed-rate workflow?
on Nov 11, 2013 at 7:54:15 pm

I'm doing more TV work lately and am finding that in an ideal workflow the framerate conversion for 23.976 to 59.94i occurs after picture finishing. I want to be able mix 29.97p and 23.976p so that pulldown can occur after resolve scales it.


Return to posts index


David Baud
Re: Proven mixed-rate workflow?
on Nov 12, 2013 at 8:37:23 pm

[Danny Thompson] "
Can anyone give a hand and write up a solid workflow for mixed-rate FCP timelines?"


I won't be able to give you a solid workflow (other than Juan recommendation!) but I am going thru this as we speak using Premiere Pro. I am working on a documentary with a mix of progressive frame rate (25, 29.97 & 50). Because of the nature of some video codecs, I wanted to get the video into Resolve as close as to the original format. So I decided to keep the mixed frame rates based on the Resolve manual: if you export from Resolve 10 as individual clips, then you will retain the original frame rates. Interestingly enough, when opening the XML file into FCP, FCP does not recognize the mixed frame rates, whereas Premiere Pro does! So this might not work for your particular needs.

One word of caution so: this workflow does not seem to work with speed remapping footage.

David Baud
Post & VFX
KOSMOS PRODUCTIONS
Denver - Paris
http://www.kosmos-productions.com



Return to posts index

Eric Johnson
Re: Proven mixed-rate workflow?
on Nov 12, 2013 at 11:01:19 pm

If you are opposed to a Preconform workflow, then the best way would be to separate you media based on frame rate.... understandably not ideal, but it does work...

eric b johnson
online editor | colorist | workflow


Return to posts index

Danny Thompson
Re: Proven mixed-rate workflow?
on Nov 13, 2013 at 7:02:45 pm

How so? Separate folders/bins? Separate timelines that get merged together in DaVinci?

I need something more to go on... I'm not surprised at how sparse the documentation in this area is though...


Return to posts index


Eric Johnson
Re: Proven mixed-rate workflow?
on Nov 13, 2013 at 7:29:09 pm
Last Edited By Eric Johnson on Nov 13, 2013 at 7:32:42 pm

Separate before sending to DaVinci in your NLE. 23.976 media in a 23.976 timeline, 29.97 media in 29.97 timeline....

Keep separate in DaVinci. Separate Projects, timelines, etc... Galeray stills for reference...

Send back to NLE, put back together....

Like I said, not ideal.... but it gives you the most options for post grading frame rate conforms...

Worth noting, I had to do this on a doc I worked on that had 1080 30i and 24p media in a 720p timeline... before that I hadn't had issues that were insurmountable concerning mixed frame rates... This worked perfectly. There was more back end conforming than I was hoping for, but it did work.

eric b johnson
online editor | colorist | workflow


Return to posts index

Joseph Owens
Re: Proven mixed-rate workflow?
on Nov 14, 2013 at 12:16:22 am

Received a locked one-hour doc this morning which has every format and frame rate known to man, including Long-GOP XDCam 23.98 over 29.97 and a bunch of SD-miniDV. The main edit sequence is currently 23.98P, but the primary deliverable is broadcast 2997i. It will likely take much longer to prep and re-assemble than it will to grade it, and then strike the rest of the outputs.

It would be great if the mixed-codec, mixed-framerate stuff all did actually work, but ultimately I am going to have to deliver both the contract 2997 and a 2398 universal master. In this case, I will have to FRC the 2997 material back to 2398 for the theatrical/streaming/DVD/BluRay/DCP... but what would the point of that be with respect to the broadcast deliverable? Why not filter out the 2997 anyway, apply corrections and rerender, then natively re-imbed that in the 2:3 pulldown master when that version is created? Other than being a PITA.

Why wouldn't the creative team edit the mixed format on a 2997 timeline to start with? Well you may ask.
For starters, my first guess would be because FCP7 is even more clueless about mixed frame rate when you start looking at what its doing at a fundamental level.

jPo

"I always pass on free advice -- its never of any use to me" Oscar Wilde.


Return to posts index

Danny Thompson
Re: Proven mixed-rate workflow?
on Nov 14, 2013 at 12:45:55 am

I feel your pain Joseph.


Return to posts index


Eric Johnson
Re: Proven mixed-rate workflow?
on Nov 14, 2013 at 12:52:52 am

It was a definitely a ponderous way of doing it... I don't exactly recall why it needed to be done that way... but it worked... So I figured it was worth mentioning.

eric b johnson
online editor | colorist | workflow


Return to posts index

Danny Thompson
Re: Proven mixed-rate workflow?
on Nov 14, 2013 at 3:43:11 am

Eric... had I been thinking a little more resourcefully at the time I probably would have done this. This seems like it must be the only way one is able to put the pulldown application at the end of the process chain. Since it seems like nobody has ever really had much success doing mixed rates in DaVinci I will just go with your method. Thanks!


Return to posts index

Danny Thompson
Re: Proven mixed-rate workflow?
on Nov 14, 2013 at 3:59:52 am

Based on what eric has done and what seems possible, I'd recommend this for your project:

-split it up into 23.976 and everything into three media managed piles: 30, 24 and 24-over-60, other rates
-remove all the pulldowns and relink in your 24 timeline
-lift everything not 24 into another track, conform timeline to 30p
-produce frame-blended ProRes proxy versions of all the 30/25/other rates.
-relink to these in the 24
-grade in the 24 session with clients or straight through (so all the footage is there in proxy form)
-get approval
-export 30p and 24p timelines, have davinci handle scaling and cropping
-apply pulldown to all 24, relink in 30 timeline
-use frameflex style conversion on all 30 for the 24.

looks like the worst part was your promising a 24 version...


Return to posts index


Joseph Owens
Re: Proven mixed-rate workflow?
on Nov 14, 2013 at 5:07:38 pm

[Danny Thompson] "looks like the worst part was your promising a 24 version.."

The vast majority of the source media is originally 2398 anyway, so its actually the best part. If given the option, my sense is that most people in the post world would far rather work in 2938. What's not to like about 20% fewer frames to deal with, especially if you are hand-roto-ing a matte or something?

Its the necessity to have to keep backwards-compatibilty with NTSC that is the real pain here.

jPo

"I always pass on free advice -- its never of any use to me" Oscar Wilde.


Return to posts index

<< PREVIOUS   •   VIEW ALL   •   PRINT   •   NEXT >>
© 2017 CreativeCOW.net All Rights Reserved
[TOP]