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Complex Film Round Trip Question
Im a bit confused here on how to roundtrip a timeline that was edited from (nested) timelines. let me step you through from the beginning… I’m working on a film that was shot on 16mm film 1.66 full aperture 2048 x 1240. When I received the digital scan from the lab there were a total of 9 rolls so 9 DPX sequences which I imported into resolve. I created 9 timelines for each DPX sequence then manually synced audio in each of these 9 timelines. when it came time to edit I used these 9 timelines to edit from so I could have film and audio in one container. So now I’m done editing the film and we are needing to export the content from my final edit as individual clips to degrain in a 3rd party software called dark energy. I’m told I need to export individual clips as DPX with a flat pass that ignores all sizing and speed changes that has handles of 96 frames.. After exporting these clips I wanted to make sure that I will be able to reconform to my timeline. after a couple of hours squirming in my chair I cannot for the life of me figure out how. I tried relink selected clips first pointing to the original DPX’s, no go, then to the 9 DPX timelines, nope, and then finally to the final timeline but nothing works media remains offline. Am I doing this wrong? I’m running out of time here any help is greatly appreciated!
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4 Replies
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Update: after reading up I discovered “Decompose in place” which replaces the nest with the original media. Now I have a “normal” sequence should have no issues conforming now. Carry on…
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just discover decompose in place replaces any inspector settings like sizing which sucks!
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I’m not convinced DPX will buy you anything. Do a test on 1 minute of material as DPX and 1 minute of material as ProRes 444HQ. I bet the latter will be a lot easier to handle. Having single files should theoretically be easier to relink.
I’m also not convinced it’s a wise idea to noise reduce first and THEN color-correct later. My thinking is, the color-correction process is going to change the gain shot by shot, which means the amount of grain and noise in the shot is likewise going to change shot-by-shot. To me, it makes more sense to do the de-graining as a final operation.
The other philosophy you might use: hey, it’s film. Grain is part of that look. People know it’s film. Embrace the grain and just consider it a creative texture for the show.
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thanks for the advice. actually we are supposed to export dpx degrain, import grade then export again and regrain. This is what the producers want and apparently the workflow has to stay DPX all the way through.. The biggest issue Im having now is how do I roundtrip? ive taken care of the nested timeline confusion by decomposing in place so now how do I export this timeline as individual source clip Dpx’s with handles run them through this dark energy software and then get them back recconected to my timeline in resolve? essentially what I need to do is like the FCP roundtrip preset but for DPX’s instead of MOV’s. Any suggestions?
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