Simple workflow with DaVinci Resolve and After Effects

[Remo Fritzsche]

Hi There

I know this question must have been asked numerous times yet, but browsing the forum I didn't quite find the answer to me problem, which is as follows:

I'm currently editing a project consisting of R3D footage in 4k and 2k. I'm finishing in 2k. Editing is done right in Resolve, currently using the online media. Using the new Mac Pro and a fast SSD, this works quite well.

For about 10 (of about 40) shots, I'd like to apply some simple VFX stuff in After Effects, which I'd like to bring back to Resolve for finishing and grading.

Is it the best workflow to first edit everything in Resolve, then export out DPX sequences of the part I need VFX on, use them in AE and export DPX again which I bring back to Resolve? The problem I see with this is the time (DPX is heavy, consumes a lot of space, rendering time...) as well as the grading. Some of the footage would be R3D, while other footage would be DPX.

How do you usually deal with this? Just to make this clear: The VFX is very simple, mostly titles or some basic AE 4-corner-pinning-style things.

Thanks for any advice.

Cheers
Remo

 

[Marc Wielage]

Is it the best workflow to first edit everything in Resolve, then export out DPX sequences of the part I need VFX on, use them in AE and export DPX again which I bring back to Resolve? The problem I see with this is the time (DPX is heavy, consumes a lot of space, rendering time...) as well as the grading. Some of the footage would be R3D, while other footage would be DPX.

My advice would be to try 4K ProRes 444 and see how that looks. As long as the color is good going out, you should be in reasonable shape. I know of quite a few theatrical films and TV shows that have gone this route.

In perfect circumstances with very fast machines and storage, DPX or EXR is the best way to go, but I think ProRes 444 is a good alternative for budget- and hardware-constrained situations.

 

[Remo Fritzsche]

Even if it took me quite a while to answer: Thanks a lot for your answer and insights. So I assume it's quite normal for a colorist to have to cope with both ungraded redcode and ungraded Prores / DPX footage having to make both formats look right and the same?

 

[Will Steer]

Export a 2K ProRes4444 of each clip using max debayer (no need for 4K if you're finishing 2K in my view) using the settings you're planning to grade with (RedLogFilm, whichever redcolour, ISO, white balance) and import that into AE. Don't colour manage AE, do your VFX and export that back as ProRes4444. Re-import into your Resolve timeline, should be fine and match up nicely.

 

[Marc Wielage]

Even if it took me quite a while to answer: Thanks a lot for your answer and insights. So I assume it's quite normal for a colorist to have to cope with both ungraded redcode and ungraded Prores / DPX footage having to make both formats look right and the same?

Yes. If the ProRes is transcoded from R3D's with the correct exposure, color temperature, and ISO levels, with the applicable RedColor space and in RedLogFilm for gamma, it will look the same. I have cut from 4K Red files to 4K ProRes files within the same scene and been unable to tell the difference.

If the settings are wrong, however, it can go to hell very quickly. In a perfect world with massive hardware, I would rather have the R3Ds in the event there's a particularly difficult balance problem, but working with the ProRes is more practical for reducing overhead and improving system response.

For dealing with After Effects, if it's a straightforward composite, you may want to export graded foreground/background shots and let the VFX artist work with those. In difficult situations, you may need multiple plates, with one optimized for the greenscreen itself.