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FCP Da Vinci roundtrip with mixed footage
Hi,
Thank you guys in advance for helping and sorry if these question are newbe questions. I am a director/producer of a low budget movie that has been shot mainly with the Red camera and a small part of it with SI2K camera. I have talked to several different colorist and DITs regarding the post workflow and I have got a very different response from each of them.
We edited the movie in FCP with ProRes files, Avi files from SI2K and TIFF sequence of VFX and some stock footage in different formats which are not my concerns at this point since we don’t want to do a heavy color correction on them.
I have several questions as how to set up and perform the roundtrip between FCP and Resolve. We preferably would like to work with 4K in Da Vinci and finish the movie in 2K.
Here are the questions:
1- Can we import and color correct different codecs (Red and Avi) and TIFF sequences in the Da Vinci timeline? If not what’s the best way to import the project into Da Vinci?
2- As I mentioned above we have 4K, 3K and 2K footage due to camera setting or resizing and reframing of the footage later in FCP which include motions as well. What is the best workflow considering the scaling and the motion?
3- One suggested workflow was to convert all the footage to ProRes 4444? What’s your opinion about that? Should we set up our FCP sequence to 2K? Or 4K for xml export of ProRes 4444 to Da Vinci to get the best and most consistent image quality?
I appreciate your help greatly.
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7 Replies
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Not a single response in 10 days. Thats amazing.
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Doesn’t it tell you anything?
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I’d convert all AVI stuff to ProRes, and work in a 2K timeline in Resolve. Doesn’t matter what frame size the original footage is in. I always make the timeline resolution the same as the final output.
And I’d do all motion in Resolve if possible. I believe there are better algorithms for such in Resolve than in FCP – oh – and it’s real-time, you know!
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Thanks Ola for your response. I have converted everything to Pro Res 4444 4K except the RED files per my colorist’s request. But his systems cant handle the project and keeps crashing and he blames the project and specifically the mixed timeline which is Pro Res and Red footage. Have you ever worked on a project with Pro Res 4444 and RED footage mixed in your timeline? How about Pro Res, RED and TIFF sequences?
I have consulted a few colorist already and no one has had an issue with the mixed footage timeline in Resolve.
I would like to know about your experience and anyone else who would be kind enough to respond to this post.Thanks.
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Nope, no issues here.
The colorist is on Resolve too? Check what hardware he’s on. CPU, GPU, RAID etc.
Does he colorist have access to the FCP project file? That should help him in the process of making the sequence(s) the way he wants them, and load the XML in Resolve. -
Yes, He has Resolve and I have given him the FCP project exactly the way he wanted it which was the RED files on one track and all the Pro Res on the second. I am certain his system has problems even though he is claiming that he works with RED projects all the time.
Thanks again.
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Ok, just for the heck of it – give him something else to chew on, see if that still makes trouble on his system. And ask him to share the details about his setup.
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