Apple Color like round trip in Resolve?

[Ola Haldor voll]

Simply put. Yup… Resolve could do what you’re doing manually now, in no time. Cut, slice, and split the QT and have you grading within seconds or minutes. Can even make an EDL of it if you’d like.

Nice touch, you can have the sound during playback too. Some find it less interesting, for me it makes it easier to add the hourly rate a notch. Sound and playback makes happy clients!

You can render both as a “solid QT” or as clips in its own folder, much like in Color.

[Ronald Anderson]

Your suggested workflow would work if indeed you were working with the original media in FCP, rather than a completed Quick Time of the show. Have you thought about importing the Quick Time into Resolve, and using the scene detector to cut it up? Or, if you could get an EDL from the editor, the resolve would reverse conform it to the Quick Time. best to you…

[Kevin Cannon]

You can do this a few ways, but here’s my favorite…it entails rendering out all the media from resolve with identical file names and timecode, and once you have all the color corrected media in a folder, you offline your media in FCP and point it to the new color corrected media… like this:

1. Create a media-managed FCP project, deleting unused media and adding handles if you want (which will split the quicktimes, give them unique file names, and consolidate into a single folder).
2. Go through that folder or use automator to make sure every file has a .mov extension (the media manager can make files without the extension, but they won’t show up in the media browser).
3. Duplicate the FCP sequence, combine layers in FCP to V1, export a CMX 3600 EDL (with file names in the notes as needed – this will be your temp timeline with which to color).
4. In Resolve, add your media-managed media folder to the browser, conform your EDL.
5. Color! If any clips didn’t make it into the EDL/timeline, you can color them in the master session.
6. With everything finished, go to your master session and render the master session in source mode, to a new folder (don’t overwrite your media) labeled color media or such – you should get a folder full of quicktimes with identical file names and timecodes.
7. In FCP, in your original sequence select all your clips, and “make offline” then “reconnect to media” but point it to your CCed media. (you’ll probably get errors related to reel #s or media start and end time, but it has still worked for me to just ignore them…)

I like this workflow because in the end you can keep multiple layers, transitions, FCP effects, etc…

KC

prehistoricdigital.com
hardworkingpixels.com

[Vladimir Kucherov]

That does sound like a great workflow – but as far as I can tell you can’t media manage (ie, split) R3Ds.

Then, I look at the latest update to Monkey Extract and see “r3d” splitting under new features. Anyone have experience with this?

[Rick Turners]

Nice research!..That is a lot of steps to complete something that I can do in one step, 5 years ago?

BMD, XML support please!

Yes I could cut the QT up in Resolves Scene Detector, but because of the white flash fades, tons of cross dissolves etc that I’ll be building on top of the grades, it makes more sense to go back to FCP.

[Darin Wooldridge]

I recently finished a webisode series shot 4k red. That material bounced back and forth from final cut to the resolve, and back to final cut for the final comps, vfx and sound. The editor and I had it working out fairly well. Yes, I had a few extra steps but found the trade off for the color corrector was well worth it.
I finished several films in fcp color and did not find it an easy round trip. I was able to do the job, just not in the capacity and speed I am accustom to working with professional tools.

NOTE: The comments above are strictly mine, and may not necessarily
represent those of my employers.

Darin Wooldridge
Colorist / Technical Strategist
818-653-3918-cell
dwooldridge@mac.com
check me out at https://www.facebook.com/pages/Davinci-Resolve-Colorist/117363011609028?ref=….

[Austin Wallender]

I don’t know about monkey extract, but I’ve played with the r3d trimming in the latest Storm beta, and it seems to work as advertised with FCP xml files. Definitely worth a try if you’re bringing a huge red project into davinci.

https://www.thefoundry.co.uk/products/storm/

[Uli Plank]

I tried Storm with FCP by exporting the XML from Storm and then handing the EDL from FCP to Resolve.

Resolve linked just fine if either transcoded ProRes or original R3D was in the Media Pool.

Director of the Institute of Media Research (IMF) at Braunschweig University of Arts

[Rick Turners]

Hi Ron,

Would love to hear your workflow for getting media/project from FCP to Resolve to FCP (with an EDL originating from the editor)

Right now I’m thinking I would get an EDL, conform in Resolve, Render to separate folders with same name, make offline in FCP, reconnect to Resolve renders? Is this the right way to go about it? (is it even possible?)

Still need to do some more testing..

[Sascha Haber]

Storm is da bomb !!
The new one even has a multilayer timeline
Its an instant buy

A slice of color…

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