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DaVinci Resolve
Hi,
Since one year I’m professional busy with color grading. Most of the time I’m working in postproduction facilities where everything is ready to go, so I don’t have to worry about the technical background of how the file was created.
Now I decided to also start working from home. Builded myself a small grading cell wit a macPro, decklink, reference monitor and Resolve.
I was used to work with color and nucoda film master, so DaVinci is new to me.I’m gonna start working on a project which I will get over the internet as a .mov. So I can import the .mov in Resolve and with scene detection I can start working. Question was what to do with fades and mixes?
What is the best way to get it back out Resolve as a .mov or get it back into Final cut and then export it?thx
Bart
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3 Replies
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I’m not a Davinci Resolve expert, but if the source material is available to you, then the only way to have fades/mixes is to export an XML file from FinalCut.
After that, importing the XML into Davinci will ask for the source material, and it will build the same timeline that you saw on Final Cut.
You can grade now all clips separately, also you can render out the whole source material graded (so if later they decide to move a cut two frames forward, they will be able to do that, and the color correction will remain)If you only have an exported mov, and you have to split it with scene detect, you won’t be able to build a two-layer timeline from it, and it is impossible to effect only one video during a fade.
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You are back in the old tape-to-tape workflow, where transitions have to be handled with keyframe/dynamics and masks. Dissolves are fairly straightforward — add a dynamic mark at the start of the dissolve, and a mark at the end. The correction will “fade” between the two.
Wipes and composite scenes can sometimes be handled with “power” windows (” dynamic vignettes”).
An alternative would be to bring the .mov in twice, so that you actually create a synthetic source clip layer. Cut and grade the mov in such a way that you can grade the layers separately and re-create the transitions whether they are dissolves, wipes or composites back in the FX or editing application of your choice.
When Apple COLOR showed itself to be very weak in this area, or the grade-tracking from one set of values to another is problematic, this became an alternative workflow that many NLE colorists adopted.
Having the original source clips available on separate layers is, of course, vastly preferable.
jPo
You mean “Old Ben”? Ben Kenobi?
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It’s indeed as aI was thinking…thx for the help
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