we shot an independent feature film this spring. Editing is finished and we now have the opportunity to grade the film at a baselight system with a professional colorist for free. It is really a no budget project and because of that, i (the DOP ) find myself now in the middle of the post production workflow. I shot the film with the BMPC and the BMPCC Cameras an have Davinci Resolve 11 installed on my iMac at home.
Now i am looking for the best Settings for a DPX 10bit. Export for the Baselight.
I need the Davinci not for grading, only for exporting the Film as a DPX Sequence. We edited with proxys in FCPX an relinked to the original Files in Davinci Resolve.
[Marius von Felbert]"What are the best Project and Outputsettings in Davinci Resolve to get the DPX without any loss of Data/Information?"
If you are looking to transcode to an image sequence, you are not going to actually improve the image -- its just going to go into a larger container. I would be tempted to split the project output by assigning a layer priority to the differing resolutions and create two batches - one for the HD and one for the UHD --- IF that is the approach that the facility/colorist would agree with.
I thought FCPX was a flip/directory switch to relink from proxies to original? At any rate, you should be able to export any number of EDL-type XML or AAF files that would be compatible with Baselight's timeline import.
OTOH. Instead of consulting this forum, it would be far more focused to get the pro bono facility involved as to what would work best for them so as not to waste their time sorting out an "this should work" approach. I'd be surprised if Baselight wouldn't actually be happier with the ProRes and RAW files, which might be a more appropriate grade source than baking out the dpx sequence. I know I might lean that way myself. Unless there is something else going on, a colorist will always want to get back to as close to the camera as possible.
"I always pass on free advice -- its never of any use to me" Oscar Wilde.