-
Prepare a Final Cut Pro project for Resolve
In the past months I’ve done a lot of freelance grading gig. Clients send me their hard disk and I grade their film in my suite and I send them back the drive. Pretty easy isn’t it? Well, not for everybody so I end up spending a lot of time on the phone with editors, assistant-editors and technical directors explaining them how to export an XML and how to do a Media Manager the right way. So I decided to write a simple procedure to help them and to save me some time.
So here is an 11 pages procedure explaining how to prepare a Final Cut project and all the elements needed to send a film to a colourist working on Resolve. Don’t worry, it’s not too long, I just took time to explain some details, took screenshots, wrote a table of content and tried to indulge some basic naming theory. I also added a form for client to fill and send with their project.
https://www.ilovehue.net/PDF/FCPtoRESOLVE_procedure_20121119.pdf
Mathieu Marano
offline/online editor – motion graphics – Post-prod director – DaVinci Resolve operator
http://www.ilovehue.netAdministrator of the Montreal Final Cut User Group
http://www.finalcutmtl.org -
8 Replies
-
That is a great document!
Another way to get a project done when you are working with the edit impared is to have them to send a single file without titles (and even dissolves) and use the shot change detector and then go in and edit the shot changes to tighten it up.
This is a bit of a PITA and you have to set marks and dynamics for any dissolves that might be in there but it take a huge load off project prep on the client end and can be very effective when THEIR facility is a mess.
I recently graded a totally disastrous edit with horrible TC problems from OLD OLD phantom footage (Very early model) and managed to get it out in two days with only a few picky QC issues. There was going to be NO possible way to grade that show (which was for broadcast) with a XML or EDL because of how much of a disaster their timeline/Project was.
-Rob-
Robert Houllahan
Director / Colorist
Cinelab Inc.
http://www.cinelab.comMAHC-PRO 6-Core 3X GTX285 20Tb SAS Wave Panel Panny 11UK SDI Plasma. Light-Space CMS + Hubble
-
That’s why I always ask for a ProRes/uncompressed reference movie to use as offline clip. But more often the not clients will want their FCP sequence back in FCP with the FX they already applied and the weird transitiion the used. They also want handles.
Scene detection is a good fallback solution.
Mathieu Marano
offline/online editor – motion graphics – Post-prod director – DaVinci Resolve operator
http://www.ilovehue.netAdministrator of the Montreal Final Cut User Group
http://www.finalcutmtl.org -
good work. No longer have the patience to teach clients.
tks
Nuno
-
Very Good!
How about one for Avid?
Danny.
-
Hey Mathieu,
Great document! There are some little problems here and there with the English. If you’d be willing to send me an editable source file, I’d be happy to fix them…
– Robert
-
Thanks, that was nice!
-
Really good info. Any chance you’ve made one for FCPX.?
-
Mathieu Marano!!!! You rock for doing this. You should sell it to DaVinci or FCP.
Any changes for Resolve 10? I assume everything’s the same, since FCP7 hasn’t changed.
Reply to this Discussion! Login or Sign Up