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Million Cameras, One DaVinci: A Workflow Story

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Brittany DeLillo
Million Cameras, One DaVinci: A Workflow Story
on Oct 24, 2014 at 9:57:44 pm

Hi all,

I have a feature that was cut in Final Cut Pro 7 and is being graded in DaVinci Resolve 11. All the footage was transcoded to ProRes Proxy for the offline and they want to go back to the online for the grade. Below is breakdown of my options for the various media formats and how I am considering handling them.

NOTE: They initially graded the whole project as a ProRes QT using Scene Detect, but felt that it didn't illicit a high enough quality render, hence the desire to jump back to the raw footage.

5D = Go to RAW H.264 or ProRes 444?
RED = RAW R3Ds (which I believe are 4k and over cranked)
GoPro = RAW
F3 = Convert to ProRes 422HQ (I can't find a way to get it to 444, is there a way? I've tried literately everything and I know DaVinci doesn't agree with the raw MTS files that Sony cameras shoot)
FS700 = Same as above
C300 = RAW
Images = RAW (or convert to alternate file format)
Stock footage = keep original or convert to ProRes?

Would anyone recommend an alternate treatment to some of these? What is the best practice for the Sony cameras? I've used ClipWrap in the past but it only works for one of the Sony cameras. I also tried the Log and Transfer method but it tops out at 422HQ.

Thanks in advance for filling in the holes, folks.

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