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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

EPIC AND FCP TEN...(possible workflows)

Hi all-
I'm not in front of my edit station right now, but just wanted to give a heads up that with the latest versions of FCP X (10.0.3) and RCX Pro (probably any version actually) and DaVinci (don't know the numbers, but personally I'm on the latest beta of Lite) you can very easily do a FCP X with Resolve finish. Here's the workflow I've tested. Dead simple, at least for me.

1. Shoot
2. Create proxies in RCX Pro. I just dump everything into a bin and batch export. I've been going to ProRes Proxy, 1280x720p, 1/4th debater, standard frame rate, and including BITC and burned in filename. The window burn isn't actually necessary, but it always feels like a nice insurance to have the actual filename on the video. If a file ever goes missing, or things get jumbled along the way, I have a nice simple way to spot check things against the offline. Before anyone goes crazy about this step of the process, just remember, this is an offline edit. I'm a huge proponent for finishing at the absolute highest quality possible, even for later down converts, but these files are just for editorial. The "online" part of the process will be full res in Resolve.
3. Edit in FCP X. (I've not dealt with scaling, position in FCP X as I'd rather do them all at the finish. But like some folks said earlier in the thread, this shouldn't be too much of a hiccup.) Once you've got a timeline locked, export an FCPXXML. I think the new update gives you a choice, but Resolve should read both FCPXXML 1.0 and 1.1.
4. Load the FCPXXML into Resolve. Now here is really the only "trick" to this whole workflow. If you do a standard load, it will retrieve the ProRes files you've been working with. Obviously you don't want that. In important settings, just make sure that the R3Ds are added to the media pool and you check "Ignore Filename Extensions" (That may not be the exact working, but close to it. Again I apologize, I'm not in front of my Resolve machine.
5. Grade in Resolve (you'll have access to R3D RAW settings if you right click and select "Adjust R3D") and export to whatever format, sending back to FCP if desired. Obviously audio is not going to come through, so you need to deal with that separately, but this workflow will let you go from offline to R3D finish with hardly any trouble. Hope that helps!
Peace,

-Harry
 
Is it quick to spit out proxies?

I'm used to the RED ONE files having them there already. I've done some 2K ProRes 422 HQ exports from Red Cine and it took forever. It'd be great to cut proxies and then online them, but only if it's quick.
 
So am I right that with the current updates that happened today in RCX and the new FCS Installer and the new 8.0.2 Resolve Update, that RCX can now spit out Quicktime Reference files, like the proxy files used to do, going to the same folder as the R3D, allowing you to use them in FCP X, make your cut, send an XML straight to Resolve and finish in RAW there?
If so, great! :-) Nice to see both Resolve and RED making this all happen for their users.
 
Nice new functionality in RCX Pro 11.
Here's the new "bonus" workflow I discovered :)
So you're cutting along using the workflow I described in my last post cutting from low res, fairly bad debayer proxies. All of a sudden your producer, director, whoever decides they need to have a preview screening, or send out a rough on DVD or whatever. Obviously you don't want to have to deal with going into Resolve at this point, but now you can go to RCX Pro with your FCP X-XML. Just export an XML of your project (make sure it's selected in the project browser, FCP X 10.0.3 will also let you output XML of an event, but that's no help in this particular situation.)

Once you've got your rough cut project as an XML (should take a minute at most) all you need to do is import it into RCX Pro and point it to the original R3Ds. From there, you'll have a matching cut in the timeline. Do a quick once over on color, set up framing, and then export at whatever you want (I'm liking the look of 1/2 debayer 1080p for this sort of thing.) When you export from the timeline, it'll put out one long movie, uncut. Now you can just take this back into FCP, lay it over top of everything as a connected clip (as long as you haven't changed anything since, audio should line up fine) and just export for the preview.

Obviously this is going to favor "traditional" cutting...narrative, docs, etc. If you have a ton of filters or transforms, things are going to be a little trickier. But for a quick way to have a preview at good quality with decent color without having to do a premature "finish," this should give you some good options. Hope it helps!

(Now I just need to get a Scarlet so I can stop playing with old footage...)
Peace,

-Harry
 
For those of you having issues relinking FCPX XML in RCX there's another version Red will email you for the fix. Works great!
 
Now I haven't had a chance to try it out yet, but are you able to export a 4K Pro Res FCPX-XML out of RCX and send it back to FCPX and have all of the cuts in place? It's slightly annoying to have to cut up one long Pro Res if you want to make any last minute changes after grading.
 
Jerrod Cordell said:
...are you able to export a 4K Pro Res FCPX-XML out of RCX and send it back to FCPX and have all of the cuts in place?
Click to expand...

Yes, this is now possible in RCX Build 11. You can do a "Timeline (separate clips)" export with FCP-X XML exporting turned on in the export preset.
 
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