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R3D speed ramps – EDL?
I searched a lot, but I’m not sure if I understand all the limitations of the workflow with a speed ramped footage.
AFAIK, EDL will keep normal speed changes, but will lose speed ramps?
If it loses, what is the best way from the NLE to DaVinci?
If the only way is to write out a DPX sequence from the NLE, am I right if I think using Redlogfilm is the best way?
If I use Redlogfilm, can I use a LUT (which one)?Thanks:)
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8 Replies
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You can export a XML (from FCP 7 and X), and AAF from Avid Media Composer to bring across the speed ramps into Resolve V9.
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thanks, that sounds good.
So if the editor uses FCP, or Avid, it should be OK, if he uses something else like Edius, it won’t work -
If you not using FCP or Avid, then you will have to export in a FCP XML compatible format. Some other NLEs support this mode.
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thanks Rohit, I’ll ask the editor.
If it doesn’t support, DPX is the way, is it? -
Well it’s two different things, XML, AAF, EDL are files which describe your edit.
DPX, Quicktime, MXF, etc. are file format which store your video and audio.
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yes, but I meant if it doesn’t work like this:
original R3D files edited in NLE -> AAF or XML -> Davinci imports XML, and original R3Ds
than the only way is:
original R3D files edited in NLE -> export full sequence in full resolution DPX with redlogfilm -> import the DPX sequence in Davinci, cut it up, and grade it.
this is what I meant under “DPX way”Bytheway, thanks for the fast answers!
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XML is a markup language that describes your edited project.
Dpx, Quicktime, etc., are the encoded media components that make up the audio/visual portion of the project. Without the means to interpret the speed changes that you are introducing as part of the edit process, some applications cannot duplicate the instructions that the XML carries. Apparently this will change with the introduction of Resolve 9, although at first glance it seems as though ramps will be confined to instructions defined within the XML document and third-party plug ins may have to figure out how to imbed their parameters so that it looks like a native algorithm to the originating edit application.
The method described — exporting a new ramped clip, is the time-honoured approach of “baking out” a QT (or dpx sequence) that itself runs at 100%, so that the speed ramping does not have to be emulated by the correction software accessing the original source media.
When you “render out” your ramped R3D media to dpx or Quicktime or anything else, you can choose whether it conforms with the display standard you are currently using or some other. If you are working strictly within 709 specification, I don’t really see the need for some other gamma setting unless you are over-complicating the workflow with a matte-box full of LUTs.
I’ll be very interested to see what Resolve 9 does with a “0%” speed change, or “freeze frame”.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Laco Gaal] “export full sequence in full resolution DPX with redlogfilm -> import the DPX sequence in Davinci, cut it up, and grade it.”
You could always simply export the portions of the sequence that have ramps and re-imbed those, instead of the entire project.
Either way, this has been a nearly weekly topic of discussion regarding efficiency of approach since Apple COLOR was released, what? five, six years ago.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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