ARRIRAW, offline editing and conform in Resolve

[Tim Farrell]

Good question Chrispy.

I am looking to download some arri raw files for this sort of workflow testing.

Does anyone have any links?

Thanks.

[Christopher Tay]

I guess one way to work is to use Resolve itself to convert the ARRIRAW to Quicktime ProRes for offline editing and keep the filename to be the same. And then try to conform to the ARRIRAW in Resolve from the offline EDL.

-chrispy

[Jens Herold]

There is a Resolve / ARRI Alexa Workflow white-paper released from ARRI which explains exactly this workflow for FCP and Avid.
I couldn’t find it now.
Maybe someone else could publish a link?

Jens
creative tools
Hamburg, Germany
https://www.creativetools.de/products/davinci.html

[Illya Laney]

Use the Codex VFS to create the codec you need to deliver or use the ARRIRAW converter which limits you to DPX. In that case, Glue Tools can help if you need to use Compressor. I haven’t conformed ARRIRAW but I believe you treat it just like DPX frames.

twitter.com/illyalaney

nextLAB Mobile
SpeedGrade DI
Resolve
da Vinci 8:8:8 Renaissance
Color
Truelight

[Misha Aranyshev]

For offline though Silverstack 1.6 is discontinued I think you can get it from Pomfort if you ask nicely. Haven’t tested it with Alexa RAW, only with D-21. Can do delog, LUTs, manual color, scale, crop, cache and burn in all sorts of metadata. It preserves TC and Reel and can dig it out of strange places current recorders write it.

Conforming is more problematic. You will need all you media online for any grading or finishing app to connect to your EDL. That means big array. There is still no tool to search a bunch of volumes and pull only the frames which were used in the cut.

[Neil Sadwelkar]

You can place the ArriRAW clips in a Resolve timeline, grade if needed and then render out in ‘source’ mode with ‘Use Prefix, Suffix…from source’ checked. And format as Quicktime with the desired codec and frame size.
You then have QT movies that will have names from the ArriRAW source along with the corresponding TC and reel info.

These QTs can be edited in FCP and an EDL made. The EDL will conform back to the ArriRAW clips in Resolve.

You could also consider getting the GlueTools ArriRAW plug-in which enables you to access ArriRAW files in FCP.

———————————–
Neil Sadwelkar
neilsadwelkar.blogspot.com
twitter: fcpguru
FCP Editor, Edit systems consultant
Mumbai India

[Prathvish Hegde]

hi guys

i think for editing you can export prores files with the same clip details of arri raw from the codex recorder which in tern can be used for editing and with the edl generated from fcp conform on the resolve.
(i had been to one of the demos of arri alexa camera and remember the guys saying that the codex recorder can export different formats from arri raw such as prores ,dpx etc)

prathvish hegde
colorist

[Illya Laney]

prathvish hegde
” had been to one of the demos of arri alexa camera and remember the guys saying that the codex recorder can export different formats from arri raw such as prores ,dpx etc”

That’s the Codex VFS aka Virtual File System. It’s pretty cool, as you can apply various things to the files(including LUTs) when you transcode. It copies files over from the Codex and while it’s copying to your destination it’s actually transcoding.

twitter.com/illyalaney

nextLAB Mobile
SpeedGrade DI
Resolve
da Vinci 8:8:8 Renaissance
Color
Truelight