FCPX files, from FCP7 can't get it all into Resolve need some help.

[BigLu]

I need to get this entire XML clean into Davinci Resolve without all the issues i am experiencing.



Movie project was shot on REDone
I didn't do this workflow I'm doing my best to help them to fix it.
Files were converted to ProRes using RCX
These ProRes files were then taken into FCPX and linked to audio files, then new exports of those prores files were made and a new extension was introduced - Synchronized Clip.mov I believe thats something FCPX does.

Example A001_C001_0519D0.mov was made into A001_C001_0519D0 - Syncronized Clip.mov this stops and or creates several issues for Resolve to relink to the files properly.

Then the entire movie was edited in FCP 7 and now Im looking to reconfirm in Resolve.

I have tried using RCX to make a new XML and RCX is pretty smart it will relink to the appropriate R3D files but when i spit out a new XML it will not remove the Syncronized Clip part.

I have tried rebuilding it in FCPX but I cannot relink to the R3D files so thats a no go.

Any help anyone?
Ive been in communication with Davinci on this for almost a month and at this point they just ignore my emails and don't give a care.


And if you think Davnici will ignore files and relink to the R3D it does KIND OF but its very buggy it makes files short, some not even correct and most are duplicating them selves with the wrong file.

My goal is a good XML that will relink in Resolve correctly.

Thanks for any help



Luis

 

[Eric Santiago]

Thats weird according to this link it doesnt affect the originals: http://support.apple.com/kb/PH12585?viewlocale=en_US

Are you finding the changed files within the FCP Events folder?

The topic above only deals within the app.

 

[jake blackstone]

Thats weird according to this link it doesnt affect the originals: http://support.apple.com/kb/PH12585?viewlocale=en_US

Are you finding the changed files within the FCP Events folder?

The topic above only deals within the app.

You are wrong Kimosabe. You need to read Lu's account again. They changed names of Prores transcoded files, when they did another export from FCPX.
Personally, anyone who's going to change file names and expect everything to correctly reconnect using those new names, live in a fantasy land. There is a reason why there are SOP for editing and color grading. If you refuse to follow them, it's your own fault and i can't see how possibly BMD can be at fault here. There is nothing wrong with conforming component of Resolve. Of you follow SOP everything will just work. If you don't, well… you know the answer…

 

[Hrvoje Simic]

Options which come to mind if main cut is in FCP7:

1) If there aren't hundreds of clips which are problematic

- Backup FCP project, remove problematic FCPx exports from FCP7 timeline, throw that XML into Resolve
- Import problematic clips manually into Resolve

2) If it is Prores 4444 with little generation loss, and everything else is too much of a hassle

- Duplicate FCP7 project
- From first project remove FCPx exports from FCP7 timeline, export XML from FC7
- In duplicated project put problematic clip/sequence on separate track(s) in FCP7 while keeping the edit positions, mute other tracks and export this as a single clip
- Import XML and exported Prores clip and use scene detect in Resolve and grade those additional clips in Prores

 

[jake blackstone]

2) If it is Prores 4444 with little generation loss, and everything else is too much of a hassle, put problematic clip/sequence on separate track(s) in FCP7, export it as a clip , use scene detect in Resolve and grade that Prores

If you decide to choose door number 2, then it is much easier to export an EDL and use it to cut the Resolve timeline with.

 

[Hrvoje Simic]

If you decide to choose door number 2, then it is much easier to export an EDL and use it to cut the Resolve timeline with.

I haven't had any needs to try importing different XML + EDL in the same Resolve timeline so cannot recommend it, but if that works too and FCPx Prores clips are not messed up, great for Luis.

 

[jake blackstone]

I haven't had any needs to try importing different XML + EDL in the same Resolve timeline so cannot recommend it, but if that works too and FCPx Prores clips are not messed up, great for Luis.

No Hrvoje.
XML doesn't work for the purpose of cutting up the timeline into scenes. Only EDL works for that.
Scene detector in Resolve is ancient and god help you, if the timeline consists of dissolves and fades. That is why EDL is so much better and way faster.

 

[Hrvoje Simic]

Jake, thank you for the explanation but I don't see need for it.

 

[Craig Parkes]

An accurate cultist from EDL is much preferred.

One other question - have you tried a simple 'find replace' on the .xml files, removing " - Synchronized Clip" ?

Seems obvious (probably too obvious to work, I imagine that as well as making Synchronized Clips there are other Metadata/Timecode issues that could have crept in due to this weird workflow.)

 

[jake blackstone]

Jake, thank you for the explanation but I don't see need for it.

Yes, I was wrong trying to explain your lack of knowledge to you. I will not make such mistake again.

 

[Hrvoje Simic]

Jake...
I suggested the "cleaned" FCP7 XML route to keep access to original files while having most of the edit as it should be, and additional clip import with scene detection to keep the FCPx files variables and further potential naming convention or any other editing related issues at minimum - if the Prores clips are of satisfactory quality. As I haven't had the need to combine different XML and EDL on the same Resolve timeline and test this option (as mentioned), simple deduction may shed some light in understanding why that route was not suggested from my side.

If this seems as ignorance or avoiding to learn as you are suggesting...I am sorry for your impression.

 

[jake blackstone]

The new names of files can be easily changed back to the original names by batch re-naming them.
If the TC is unique and not reoccurring in multiple files, then the conform in Resolve should work by using just embedded TC. If TC is not unique, then Resolve can use a custom string for conforming. May be Mike M or Peter Chamberlain can chime in on setting up that string.

 

[jake blackstone]

Jake...
I suggested the "cleaned" FCP7 XML route to keep access to original files and additional clip import with scene detection to keep the FCPx files variables at minimum, if the Prores is of satisfactory quality. As I haven't had the need to combine different XML and EDL on the same Resolve timeline and test this option (as mentioned), logical deduction may shed some light in understanding why that route was not suggested from my side.
If this may seems as ignorance or avoiding to learn as you are suggesting...I am sorry for your impression.

No Hrvole.
What you suggested under the option number 2 is a technique, that is called pre-conform. It's an old and well used technique. Yes, technically, you don't need an EDL for it to work, but if we're talking about a feature length timeline, it is important to use the most efficient tools available. Scene detection is not it. You glanced over the most fundamental component of the pre-conform process. That component is an EDL and not an XML. And, as you well aware, they are not interchangeable. So, in my humble opinion, if you're going to suggest something to other users, it would be helpful if you disseminate the correct information. This way users will not waste their time on trying to use XML with pre-conform or to use scene detection, when using EDL is much more efficient.
Thank you

 

[Hrvoje Simic]

Jake,

Thank you for the explanation.
I applaud your motivation to help Lu and I hope the EDL route will be the most efficient for his situation.

 

[jake blackstone]

You're welcome Hrvoje.
I'm happy to see, that my humble assistance met your lofty expectations

 

[Hrvoje Simic]

 

[Marc Wielage]

I need to get this entire XML clean into Davinci Resolve without all the issues i am experiencing. Movie project was shot on REDone... I didn't do this workflow I'm doing my best to help them to fix it. Files were converted to ProRes using RCX
These ProRes files were then taken into FCPX and linked to audio files, then new exports of those prores files were made and a new extension was introduced - Synchronized Clip.mov I believe thats something FCPX does.

Jake is correct -- changing file names of original camera material is a bad idea in any workflow.

I have a couple of suggestions:

1) use a renaming tool like Better Finder Renamer to eliminate the extraneous " - Synchronized Clip" suffix on all the files. That way, the new .mov files will have the exact same names as the R3D originals (except for the file extension). These renaming programs can search across a large number of file folders and do it all as a batch operation, and it's pretty fast -- literally under :30 seconds for thousands and thousands of files. ​Make a backup before you proceed to make sure you're covered in case of disaster.

2) have the editor render out a single flat ProRes file, and then chop it up with the EDL within Resolve for final color.

I've used both methods in the past, and each can work provided you're careful. My advice is to limit sessions to no more than 30 minutes per timeline, but that's my preference (just to help speed along the load and save times for Resolve and for the sound department in Pro Tools).

Tell your client that it's better to talk to post before they start outputting to make sure their assumptions on their output will actually work on down the line.

 

[Scott Crawley]

BigLu,

Adobe Bridge will also batch rename at the finder level, and chances are probably pretty good that you already have a copy.

Alternatively you might open a copy of the XML in Simple Text or any text editor and do a find and replace. Just find " - Synchronized Clip.mov" and replace it with ".mov" apply to all. That might work.

1) use a renaming tool like Better Finder Renamer to eliminate the extraneous " - Synchronized Clip" suffix on all the files. That way, the new .mov files will have the exact same names as the R3D originals (except for the file extension). These renaming programs can search across a large number of file folders and do it all as a batch operation, and it's pretty fast -- literally under :30 seconds for thousands and thousands of files. ​Make a backup before you proceed to make sure you're covered in case of disaster.

The round trip between FCPX and Resolve 10 is supposed to be all worked out. So, if they had only skipped RCX completely and done the one light, synch and a single transform directly in FCPX, then the Synchronized Clip suffix shouldn't have been a problem for Resolve to link to the originals. I haven't tried it yet, but that is what Apple and BMD are saying. The trickiest bit should be the handoff from FCP7 to FCPX, not X to Resolve.

 

[Eric Santiago]

You are wrong Kimosabe. You need to read Lu's account again. They changed names of Prores transcoded files, when they did another export from FCPX...

Thanks Jake, I misread that

 

[Mathieu Ghekiere]

Isn't also the problem that if you used FCPX to sync clips (by which it becomes - Synchronized Clip), then it also changes that TC to start at 00:00:00:00 instead of the original timecode... Not like Sync 'N Link.

So, although I'm not experienced with relinking, even I know that changing names etc. is a bad idea when you need other programs accessing that data...