RESOLVE V8 FCP XML RED WORKFLOW

[John Edwards]

Hi,

Can someone help explain the XML workflow with Resolve and FCP, specifically the relationship between the Basic Motion tab in FCP and the Resolve RED workflow.

[EDIT: Solution in my second post below]

I've just done a test by sending a _H res proxy QT (3K source, so 1.5K) clip in a 2K timeline scaled to 133.33% in FCP to Resolve, but Resolve seems to apply a scale to 2K and then on return to FCP (via the Resolve-generated XML), FCP re-applies the 133.33% scale. Note the FCP and Resolve timelines were both set to 2K.

I'm working on a project originated from 4K, 3K and 2K RED footage (all 16:9 framesizes), with multiple Basic Motion effects being applied in FCP (Specifically Scale, Rotation and Crop). All the media (2k, 3k and 4k) was all resized to PAL ProRes (1024x576 square pixel) for the offline, and now I need to on-line the material (I was planning on using _H for the 4K and _F for the 3K and 2K clips). Can anyone advise me on the easiest workflow!? Ideally I want to retain the Basic Motion parameters so that I don't need to eye-match them later, as most are animated!. I also don't mind making 3 timelines for each resolution if that helps! Although Ideally I'd like to see it all in Resolve at once if at all possible.

THANKS IN ADVANCE!

EDIT: Ok so I've worked out how to turn scaling off in Resolve (In the Config and Format tabs I selected no scaling center crop for both input and output). This works for formats smaller than the timeline resolution (as the 3k half res is smaller than 2K), but if I used the 3K full res for the 3k material then Davinci wouldn't render the larger 3K frame and the 'crop' (to 2K) would be rendered even though I'd have a 66% scale in my FCP timeline to compensate (As I understand it no motion tab effects come through into Resolve, they are only maintained in the XML).

Any ideas anyone?

 

[Eric Santiago]

Ive been watching the first offering from this site http://www.taoofcolor.com/
Im a newb in Resolve so Im going to need all the help I can get
Hope that helps.
If you do find your answers, Ill be knocking on your door
But before I even try FCP XML, I need to find a workflow for Avid MC round-tripping.

 

[John Edwards]

Right, so after some experimenting I realised that as the offline was all resized to the same res (square pixel PAL), and as the basic motion tab in FCP uses percentage scales, that if I left the scaling in Resolve to scale to fit (watever the default is, which fills the frame with the source regardless of input resolution)....the effects come back perfectly when sent back to FCP.

The workflow was;

2K, 3K & 4K RED > SD ProRes (source scaled to fit)>FCP>XML>Clipfinder>XML>FCP>XML>DaVinci Resolve (allowing scaling), 2K timeline>XML>FCP

It's worth noting that for extensive resizes, if rendering in Resolve at 2K (with basic motion to be applied after this in FCP, further reducing resolution), that a Full Premium debayer should be used for 2K and 3K and I'd recommend Premium Half for 4K (or full premium for all if you have a Rocket and enough PCIE slots lol). The easiest way to do this is in the Browse tab, sorting the clips by resolution and then right clicking each set of resolutions and changing the 'RED decode settings' accordingly.

The learning curve is steep with Resolve, but after just finishing a fairly high profile music promo with it I can say it's worth it!

GOOD LUCK

 

[Eric Santiago]

Ive been trying to figure out this workflow along with RCX in mind.
Here's my take so far (forgive my newbness):

1. Shoot with RED MX (or Epic)
2. Open files in RCX and edit
3. Export to <fill in format here> (now here is where I get confused. cant save back as R3D right? so I do have to leave R3D and go to ProRes/MXF/etc..)
4. Edit clips in NLE
5. Export XML to Resolve 8
6. Color grade in Resolve
7. Render clips then round trip back to NLE
8. Then finish from NLE

Step 3 confuses me. Isnt it general practise to edit in RCX then bring files along to Resolve? Or do we just avoid RCX all together and go straight into Resolve?
Reason I ask is that FCP only lets you Log & Transfer to ProRes before editing. Avid on the other hand lets you dive into it using their MXF.
We use Avid here but trying to make a quick and dirty workflow without it (for now).

 

[Jake Bastian]

You're looking for the clipfinder workflow. Once you're finished with your edit (offline) you'll export an XML. Use that XML in the program Clipfinder to reconform your offline files back to r3ds. Reimport this XML into your NLE and then export your final XML from that sequence to be imported into Resolve for grading.

Ive been trying to figure out this workflow along with RCX in mind.
Here's my take so far (forgive my newbness):

1. Shoot with RED MX (or Epic)
2. Open files in RCX and edit
3. Export to <fill in format here> (now here is where I get confused. cant save back as R3D right? so I do have to leave R3D and go to ProRes/MXF/etc..)
4. Edit clips in NLE
5. Export XML to Resolve 8
6. Color grade in Resolve
7. Render clips then round trip back to NLE
8. Then finish from NLE

Step 3 confuses me. Isnt it general practise to edit in RCX then bring files along to Resolve? Or do we just avoid RCX all together and go straight into Resolve?
Reason I ask is that FCP only lets you Log & Transfer to ProRes before editing. Avid on the other hand lets you dive into it using their MXF.
We use Avid here but trying to make a quick and dirty workflow without it (for now).

 

[Eric Santiago]

You're looking for the clipfinder workflow. Once you're finished with your edit (offline) you'll export an XML. Use that XML in the program Clipfinder to reconform your offline files back to r3ds. Reimport this XML into your NLE and then export your final XML from that sequence to be imported into Resolve for grading.

Thanks Jake. So basically Resolve is the last in line for Conforming or Finishing (excuse my lack of knowledge here)?
Can you break it down for me (or us newbies)

 

[John Edwards]

Hi Eric,

You can ouptut the entire project as a video file (or separate clips) or as a layback via a decklink I/O card and deck OR you could send the graded timeline back to FCP via xml for final conform (after rendering).

Clipfinder workflow is great for native workflows, while Crimson is great if you want to go via DPX.

 

[Eric Santiago]

...Clipfinder workflow is great for native workflows, while Crimson is great if you want to go via DPX...

We purchased Clipfinder so hoping I learn this smoothly. Thanks John for the tip