Applying Looks with DaVinci Resolve On Set?

[Desmond Ford]

In an effort to simplify and streamline my workflow, I want to start using Resolve to create on set looks in place of RCX X Pro. Nothing against RCX, it's a great program, but I just feel more comfortable in Resolve, plus I'd like to work in as few applications as possible...

So what exactly is the workflow?

I assume that I'll shoot a test clip, put it in Resolve, make my adjustments to the camera raw and then the RGB wheels... but then what? How do I save it to a looks file, what do I save it as, and how do I export it?

Also, are there any advantages to using Resolve in place of RCX, or vice-versa? Any limitations that I am unaware of?

 

[Luis Otero]

Is this even possible? I am not aware that Resolve can create the LOOKS file since the whole RMD thing is possible only via RC-X. But if there is a way, PLEASE share it with the community...!

 

[MichaelP]

The RMD file can be updated with changes as available in FCPX. I don't know if Resolve does this yet as well as what other applications offer this. Having a full historical versioining within the RMD file would be nice as applications return to the R3D/RMD file throughout the post process.

Michael

 

[Marc Wielage]

I assume that I'll shoot a test clip, put it in Resolve, make my adjustments to the camera raw and then the RGB wheels... but then what? How do I save it to a looks file, what do I save it as, and how do I export it?

I spoke to a (fairly big-name) DP a couple of months ago who had done a feature that had a small Resolve setup on set, and he told me, "we simply used Resolve to create temporary looks for the onset monitors and for dailies. We created a temp version of the movie, used that as a reference for the final color timing... and you know what? We wound up throwing most of that out and just starting over from scratch. Sometimes, what we wound up with was fairly close to the onset version, but most of the time, it was quite a bit different." We agreed that this is no different from the old way of doing 1-light or best-light dailies, and then timing the movie differently once it's actually cut together. Visually and emotionally, the shots have a very different feel once they're juxtaposed against each other. And retrieving those precise looks are not really necessary, not if you have a good colorist and time.

Also, are there any advantages to using Resolve in place of RCX, or vice-versa? Any limitations that I am unaware of?

I don't think that's ideal. There's some good color science in RedCineX-Pro, and my preference would be to use RedLogFilm or some other output files prior to Resolve, just to lessen the resource load going on within Resolve. Given unlimited processing power, RAM, and storage, there will eventually be many different ways of doing this, but when you're working against a real deadline and budget limitations, I think you're better off simplifying the workflow as much as possible.

 

[Elliott Balsley]

One benefit to Resolve over RedCine-X is the ability to use a calibrated SDI monitor to make decisions. (Unless you have a Rocket of course.)

 

[Rohit Gupta]

You can grab stills and export out DRX files which is essentially a look file. Alternatively, you can use colortrace to copy grades based on timecode reference, or manually.

 

[Nick Pasquariello]

But you can't apply the full range of what DaVinci offers in camera. You can't apply power windows, qualifiers, have as much control over the color channels . . .

The only stuff you can apply for looks inside the camera is metadata. Which means pretty much everything in Redcine-X. But not pretty much everything in Da Vinci. Using Da Vinci (or a similar program) on set would be for creating near-line looks, not online looks. Meaning it would be: 1) Record footage. 2) Eject Mag. 3) Import footage. 4) Create look. 5) Review on DIT cart and monitor. Now, all this can take place in less than 5 minutes, but you aren't getting the full range of control inside the camera​.