BEST WORKFLOW? Conforming 23,98 to 25 in Resolve, esport in dnx, edit in Avid and Relink to the original

[Glenn Sakatch]

try keeping your RED footage at 23.98. If you convert it to 25 (Low Res) and edit in Avid, you are telling Avid to create a list of this material at 25fps. Then that list goes to Resolve, and Resolve is looking at the original 23.98 footage, and saying…hey where is this clip with the frame count up to 25?…skip.

Try 36 dnx at 23.98. Bring that into your Avid 25 project, cut a test, output a list, and go back to resolve. See if Resolve can now see the originals. (Make sure you have your reel name settings correct in Resolve when you do the inital 36dnx transcode.

Your other option would be to create High res 25fps media in Resolve, and call it your new masters, but this is not the best way to work to preserve all your color information.

Glenn

[Serj Kasparoff]

(sorry for my poor english too)

If you satisfying with color grading DNxHD at 176 or 220, that it’s safer to transcode all of them to 25p base.
If you wish to color grade original clips in Resolve, so it’s needed to generate proxy in native fps.

As Glenn Sakatch said, just generate RED proxy in Resolve at native fps.
And do the same with other footage too – in Avid AMA-link and transcode them at their native fps, but each one in separate projects with different fps (23.98 video to 23.98 project, 50 video to 50 project)
Then open each bin from different projects in your main editing 25p project.

I don’t know what version of Media Composer do you use, maybe updated versions have already managed the mix frame rate difficulties, but this old thread could be helpful: https://forums.creativecow.net/thread/45/898136
See the last post by Michael Phillips in that thread – he posted a workflow for older versions of Media Composer:
https://24p.com/wordpress/wp-content/uploads/2013/07/transcode-and-relink-across-projects-with-different-frame-rates.pdf

[Bonsai Detta]

Hello,

Thank you very much for your advice.
In the end I decided to proceed in a quite confusing way, to not waste more time to reconvert some RED (because I already did it once), and in order to be able to work in this phase with a cheap drive and to not mess up my Avid with many codecs.
I conformed the RED with Resolve and transcode the Sony in dnxhr at 50 fps in Avid, so at the end of my editing, I suppose the best way will be to export the conforming RED footage that I chose with the best quality and re insert in the timeline. Luckily for me the RED material is without sync sound, so I only have to put it in my timeline.
In this way I can start to edit now with low quality material and then to proceed with this annoying step.
Probably is not the best way to organize this project but at the moment I don’t have much time to re start all the transcode.
I was hoping in a way to make Resolve recognize the name of the files without looking at the fps, maybe by showing it the project with the conforming, but it’s ok, it’s impossible..
Next time I think i will try a better way to deal with this kind of project (maybe convert all the footage in Prores…), but I actually hope that something like this is not gonna happen anymore!
Thank you,
Benedetta