We are doing a TV-spot in a couple of weeks which is going to be filmed on two different cameras:
The material is going to be edited on FCP7 and graded on DaVinci Resolve.
I know how to ingest the material from the Phantom camera using a plugin from Glue Tools and the Alexa will most likely be shot in uncompressed HD or ARRIRAW. So editing using proxy files and then on-lining is the way to go?
How will this work together in the same timeline in FCP?
How do I preserve the dynamic range of the original footage for color grading?
[Daniel Neutzsky-Wulff]"I know how to ingest the material from the Phantom camera using a plugin from Glue Tools and the Alexa will most likely be shot in uncompressed HD or ARRIRAW. So editing using proxy files and then on-lining is the way to go?"
There is a Glue Tools plugin for ARRIRAW too. Still it doesn't make much sense to edit native in FCP even a short form. Make a "digital workprint" of all your footage: create QT movies of every take and edit them. Then match back to your Phantom and ARRIRAW "digital negative" in DaVinci. As long as QT files contain the correct TC and Reel metadata this will be very simple. With this approach you don't have to worry about preserving dynamic range in FCP and let DaVinci handle it.
For a small project like this I would use FCP to create "digital workprint" files. Get Glue Tools Phantom and ARRI toolkits, import all footage into FCP, make look adjustments, apply burn-ins and batch export to ProResLT or whatever codec is your system is most comfortable handling. For huge amount of footage I would look for dedicated digital dailies app. Import QT files into FCP and edit your spot. When done export either EDL or XML for DaVinci.