I am working on an animation project that requires to finish in 2K in DPX files. A post house will take care of finishing the final output as a DCP file. I was wondering if it would be possible to finish the film in 2k DPX before delivering it for the DCP conform on a software based AVID symphony without the AVID hardware? The goal is to save some money and do the conform in house. I never played outside the HD offline media composer world when it comes to file based workflows and any help would be greatly appreciated.
What are the original camera file's resolution? Media Composer and Symphony max out at 1920 x 1080 resolution, just under 2K. Also, DPX is not a native file export format, but you might be able to use GlueTools DPX/QuickTime as a solution for that. Alternatively, you could open the AAF from a rendered timeline or QuickTime of sequence in Resolve and export DPX from there. Just know that the free version is limited to 1920 x 1080 and you will need to purchase the $995 version for 2K and higher. Are you conforming and color correcting?
It's an Animation film so there is no camera. Finished colored shots will be exported out of NUKE as DPX. Yea I wasn't sure if Symphony could handle DPX and 2K natively. AVID DS could handle this, correct? I'll play around with the Resolve workflow. Thanks!
So I take it that the original files are greater than 1920 x 1080 coming from the animation side of things? What aspect ratio?
I guess it's going to come down to an offline/online workflow for you when using Media Composer if files are bigger than HD. Media Composer can certainly do the editing, tracking of file names, frame counts, etc. with all that metadata management for a conform either in MC/Symphony (if resolution wasn't an issue) or via lists such as AAF, EDL. XML, etc. for conforms and processes downstream. If you need to edit at greater than HD, then almost every other NLE, if not all, can work natively at 2K or even higher. From Avid, it would be an Avid DS product. If operating system is an issue, then there are solutions for both Mac and PC for editorial. These days I find myself editing in Media Composer, but all work requiring a finish higher than HD, I either go to Autodesk Smoke, or Resolve depending on the finishing needs.
In your scenario, I would look carefully to the workflow pipeline coming from Nuke as DPX which includes color space, file naming convention for original to versioning, as well as will there be timecode or not generated at source or will everything be tracked as filename starting at 00:00:00:00? It certainly can be done with careful file naming. I conformed a feature with over 200 VFX shots that were all just filename and 00:00:00:00 timecode.
DPX from Nuke can certainly use Resolve as your dailies tool to handle color space (LUT), DPX input, and native Avid DNxHD media as output. Since you will be using MC as an offline, then DNxHD 36 will be more than fine for editorial. Over the years I have done a lot of consulting in animation pipeline and have seen the processes from Pixar, to Blue Sky and such - in the end, it all about the asset management processes, naming and versioning that will make your life easier. All those companies use MC for editorial, but it is planned out and managed, and finished in a different system.