ARRI FCP workflow – LUT’s & converting .ari sequences to .dpx?!

[Peter Chamberlain]

Hi, using Resolve Lite 8.1, no charge download and use from the BMD website, you can import the FCP XML and conform the .ari files, which are the raw Alexa files. In Resolve you can apply the .cube LUTn you have, or select the ARRI LogC to Rec. 709 we supply and then render all the files as dpx for your VFX guys.

Give your urgency, you might need some operational guidance on the details but there are plenty of Resolve users who can assist, or you can hire for a day.

Peter

[Andrew Smith]

Hey Peter,
thanks so much for the fast response!
Just out of curiosity how best would I do this without worrying about xml and my actual edit – if I just want to convert all of the footage to dpq sequences.

I think I will ultimately want to use the method you describe but in terms of step by step how to and the time involved unless someone lays it out and its straight forward it might be more trouble? For example one thing I am noticing is that the naming convention of the .arri files is longer than the ProRes transcodes – i wonder what/how this might effect xml workflow.

any help would be really helpful and thank you so much for writing back!
cheers
a

MacPro 4,1 OSX 10.6.8 / FCS3 / CS5
2.26 ghz 8-core / 24GB RAM
Nvidia GT 120/285 combo

[Peter Chamberlain]

Without the XML you have to manually select the matching .ari files, put them in the Resolve Media Pool and then you can render the clips as dpx with source timecode so they will match the original .ari timecode. Resolve is very fast at rendering so depending on the amount of source material it may be easier to render everything that you think VFX needs.. its will take a bunch of storage but may save time. Only you can tell depending on how much material there is.

Its common for the workflow for such projects to be defined prior to starting so you can make the file names match, or at least have reel numbers and timecodes that are different for every shot. Resolve can also conform from folder path, file name and reel number and even use the comments in an EDL but in each case establishing the working process prior to the edit, in fact sometime prior to the shoot, makes a world of difference at post time.

Try a test render of the .ari to dpx, use source mode in the render page and you will gauge how long it will take to render all the shots for VFX with the LUT.
Peter

[Andrew Smith]

Is there any way someone at BMD can walk me thru this? I am a Resolve owner and brand new user but at the freelance job I am at today I am trying to use the Lite version to do these conversions to dpx.

I got as far as adding all of the folders of .ari sequences into the media pool but exporting out 3K dpx with a LUT is beyond my comprehension!

thanks in advance

MacPro 4,1 OSX 10.6.8 / FCS3 / CS5
2.26 ghz 8-core / 24GB RAM
Nvidia GT 120/285 combo

[Andrew Smith]

Ok I am trying to give this a go! So here are the steps I have taken thus far:

1. I load all of the Arri raw footage into my media pool
2. Not using a LUT anymore so its just going to need to be log-c (flat) dpx sequences at the original size which is (2880×1620). Is this a limitation to Lite?
3) GT120 warnings / crashes 🙂 I am beginning to realize my MacPro 4,1 with just a 120 card is not even going to be able to do this.

If in fact I just need to make 3K dpx sequences from the Arri raw then maybe Davinci is not my tool for this? I am still curious to give it a go in Davinci Lite if that is possible. I have provided a screen grab to show how I cant go above 1920×1080 – i assume that is a resolution limitation of this lite version?

[Peter Chamberlain]

Hi Andrew, you need to consult the Mac config guide to build a system that can work and for higher than HD res timelines and renders use the full DaVinci Resolve.
You should not need to render each clip to a separate directory, assuming the source clips all have different timecode.
Peter