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RED: Avid->FCP->Resolve Workflow Question

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Mike Kahn
RED: Avid->FCP->Resolve Workflow Question
on Nov 12, 2010 at 2:44:16 am

I have a feature that was edited on an Avid system and will be brought to Resolve for color. It was shot on RED and needs to be reconformed back to the R3D files. There is a lot of composting green screen that needs to be done after color. Oh, and I don't know Avid, only FCP. This is my first experience with Resolve and though I have been researching, don't know if I have it down exactly. You're expert help is greatly appreciated.

My workflow currently is:

1) Export EDL from Avid along with reference movie with burn in of sequence and source timecodes.

2) reconform to R3D using Clipfinder in FCP

3) match FCP timeline against QT from Avid sequence

4) export EDL for Resolve

5) import EDL and color R3D in Resolve and render to prores

6) bring clips into FCP (don't know exactly how this works)

7) composite shots, add subtitles and credits

8) lay in final audio

9) output

Does this sound right? Does it make any sense to first go to FCP or should I take the EDL from Avid and reconform in Resolve, then do finishing in FCP?

Thanks all.

Mike


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Kevin Cannon
Re: RED: Avid->FCP->Resolve Workflow Question
on Nov 12, 2010 at 4:01:15 am

It seems like the workflow you've designed is what would be necessary to go from an Avid offline edit to color correction in Apple color (where the relinking to r3d must be done in Final Cut).

Better to just take those EDLs straight into Resolve which (if everything is organized correctly with reel #s and intact file names) will allow you to conform using r3d media and skip several of those steps. Perhaps somebody else can chime in with a way to use the conform AAF feature in this case...

Also, I've had mixed results with clipfinder, going straight to Resolve will avoid that.

Going from resolve to FCP, you could render in "target" mode to get a single ProRes QT for each reel (with record timecode) or in "source" mode to create one QTs per shot (with the source timecode, also with the benefit of allowing handles, which can could be useful if your work in FCP will include speed changes or the like).


KC


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Mike Kahn
Re: RED: Avid->FCP->Resolve Workflow Question
on Nov 12, 2010 at 4:41:13 am

Thanks for the feedback Kevin. How does resolve handle speed changes reflected in the EDL? Will it bring the clip in at realtime for the grade and then I have to fix the timing after the render?


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Kevin Cannon
Re: RED: Avid->FCP->Resolve Workflow Question
on Nov 12, 2010 at 6:13:56 am

It should handle the speed changes from the EDL, but it will not create interpolated frames. So a 200% speed shot would be rendered exactly as you would expect (dropping every other frame) but a 110% shot would create a situation where it drops frames unevenly and creates a jitter.

Also, FCP (maybe Avid?) allows for reversing a shot with a -100% speed setting, but the EDL will not allow for an out point that starts before an in point, so that gets uncomfortable. I didn't spend much time investigating, because it was easy to flip it after rendering...

KC


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Mike Kahn
Re: RED: Avid->FCP->Resolve Workflow Question
on Nov 12, 2010 at 1:42:10 pm

How do you get around the jitter?


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Arthur Puig
Re: RED: Avid->FCP->Resolve Workflow Question
on Nov 12, 2010 at 8:37:41 pm

if you can afford it, I would get Automatic Duck to import the avid project into Final Cut, and export an AAF instead of EDL.


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Uli Plank
Re: RED: Avid->FCP->Resolve Workflow Question
on Nov 12, 2010 at 11:58:08 pm

Why not Boris AAF transfer? Quite a bit cheaper.

Director of the Institute of Media Research (IMF) at Braunschweig University of Arts


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