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Andrew Richards
Resolve Workflow Question
on Jul 1, 2011 at 9:00:39 pm

Pardon my ignorance, I'm not at all familiar with the typical FCP -> Resolve workflow. I recall seeing a lot of complaining that there was no way to get to Resolve for conform from FCPX without XML output. A quick peek at the Resolve manual reveals that DPX is not only supported (of course it is), it is the default input media.

So why can't you do your cutting in FCPX and export a DPX sequence with Compressor to feed Resolve? Why do you need XML?

Best,
Andy


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Simon Ubsdell
Re: Resolve Workflow Question
on Jul 1, 2011 at 9:06:10 pm

[Andrew Richards] "Why do you need XML?"

One of the reasons is to know where the edits are happening, I'd have thought, so as not to have to rely on shot detection to find them ...

Simon Ubsdell
Director/Editor/Writer
http://www.tokyo-uk.com


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Andrew Richards
Re: Resolve Workflow Question
on Jul 1, 2011 at 9:15:13 pm

Makes sense. The DPX files embed timecode for each frame, but knowing where the edits are would be essential- not like you are going to grade each frame individually!

Now it seems like such a dumb question.

Best,
Andy


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Michael Aranyshev
Re: Resolve Workflow Question
on Jul 1, 2011 at 9:17:23 pm

Because a project going to Resolve is more likely shot in R3D, ARRIRAW or film than in h.264. So you aren't cutting your "digital negative". Your're cutting with "digital workprint". Then send an EDL or XML to Resolve that matches back to the "digital negative".


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Andrew Richards
Re: Resolve Workflow Question
on Jul 1, 2011 at 9:32:57 pm

[Michael Aranyshev] "Because a project going to Resolve is more likely shot in R3D, ARRIRAW or film than in h.264. So you aren't cutting your "digital negative". Your're cutting with "digital workprint". Then send an EDL or XML to Resolve that matches back to the "digital negative"."


H.264. Hardy har har.

Point taken, and support for R3D and maybe even ARRIRAW is undoubtedly coming in a dot release. Then you could be cutting with your digital negative, if you want. Is sending ProRes 4444 to grading pointless? Don't people grade projects shot on SR?

Best,
Andy


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Nate Weaver
Re: Resolve Workflow Question
on Jul 1, 2011 at 9:54:11 pm

Resolve user here.

The problem is that to work your best in Resolve, you need a way to move your timeline from FCP to Resolve.

Before Wednesday morning, the only way to do that was via EDL or Avid AAF. Resolve 8 came out Wed, and now takes XML from FCP7. Flawlessly, in my short tests, I might add.

You can export one big QT from FCPX, bring it into Resolve, and then have the Scene Detector notch the QT up into shots. This is not a bad way to go for shooting formats such as DSLR, XDCAM...in short any format that is LESSER than ProRes.

For any format better than ProRes like Red, Arriraw, etc, it's prefereable to work with the original camera media...and that's where you need that EDL or XML out of your NLE.

Nate Weaver
Director/D.P., Los Angeles
http://www.nateweaver.net


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Noah Kadner
Re: Resolve Workflow Question
on Jul 1, 2011 at 11:27:23 pm

Yeah the scene detection in Resolve is pretty good- I've done a couple of projects that way back in the old days. Having each edit right there via the XML is preferable though especially when you have complex transitions. You can imagine the trickiness of grading a frame cut into multiple slices when the color correction app just sees it as a full frame.

Noah

Unlock the secrets of 24p, HD and Final Cut Studio with Call Box Training. Featuring the Panasonic GH2 and GoPro HD Hero.


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Adam Claude Jones
Re: Resolve Workflow Question
on Jul 2, 2011 at 11:25:05 am

[Nate Weaver] Before Wednesday morning, the only way to do that was via EDL or Avid AAF. Resolve 8 came out Wed, and now takes XML from FCP7. Flawlessly, in my short tests, I might add.

But so any NLE that can export EDL or AAF would do as good as XML and you don't necessarily need XML or are there advantages in XML? I'm talking independently from FCP here.

[Nate Weaver] For any format better than ProRes like Red, Arriraw, etc, it's prefereable to work with the original camera media...and that's where you need that EDL or XML out of your NLE.

So when you export EDL, AAF or XML to Resolve, Resolve works directly with the original files that the NLE is working? So if you have for example Cineform on your timeline, Resolve would have to be able to work with Cineform? Can it?


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Adam Claude Jones
Re: Resolve Workflow Question
on Jul 4, 2011 at 2:12:09 am

I guess I will post this question on the Da Vinci forum since I got no replies here.


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Michael Aranyshev
Re: Resolve Workflow Question
on Jul 2, 2011 at 1:13:44 am

[Andrew Richards] "
Point taken, and support for R3D and maybe even ARRIRAW is undoubtedly coming in a dot release. Then you could be cutting with your digital negative, if you want. Is sending ProRes 4444 to grading pointless"


I wouldn't want to. No matter how beefy is your system debayering is taxing and with uncompressed raw like Arri's it is also at least 30 TB of source footage for a feature film. I'm fine with ProRes LT with a LUT, timecode, reel, scene and burned in. You have to hand videoreference movies to other guys in the post pipeline. It's better have all the relevant info available at a glance.


[Andrew Richards] "Is sending ProRes 4444 to grading pointless? Don't people grade projects shot on SR?
"


It depends. If it Alexa ProRes it is your "digital negative" and you didn't do any image manipulation then sending ProRes to grading is fine. At least in original FCP there was no generation loss.

For other source formats it's better to give a colorist all the bits there are. Native grading beats native editing.


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Andrew Richards
Re: Resolve Workflow Question
on Jul 2, 2011 at 2:48:09 am

That all makes sense. Thanks to all who answered.

If ProRes didn't have generational loss in FCP7 it won't in FCPX. The codecs haven't changed. They are still designed to losslessly render.

Best,
Andy


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Nate Weaver
Re: Resolve Workflow Question
on Jul 2, 2011 at 4:18:51 am

There's other reasons to not send a flat QT export to Resolve, btw.

Resolve can sort your timeline in an alternate order where shots are sorted by source timecode, so all shots from a certain scene (if they are scattered about) will be grouped together for easy grading and reference. Also, shots from the same take automatically get the same grade, and that's lost too.

But if you give it a finished edit in one Quicktime, there's no such thing as those features, so it's a drag when it's missing.

Nate Weaver
Director/D.P., Los Angeles
http://www.nateweaver.net


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