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FCP X – Resolve – RED stupidity
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[Oliver Peters] “However, what difference would that make?”
Ill admit that I’m having a bit of trouble following exactly what is working and what isn’t.
I thought you said everything in 10.1.4 linked, and when you took the media and FCPXML to 10.2.1, it didn’t.
So I was wondering why, instead if importing the busted FCPXML in to 10.2.1, simply update the good 10.1.4 library in 10.2.1.
But, I digress.
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If you export from AVID to AAF. it works with most audiostudio’s: protools, Nuendo… I work with sound editor on a variety of systems.
Then there’s X2Pro to solve the audio export, making an AAF. But there you are, obiously you need third party software to make FCPX work the way other NLE’s work.
Still, and fcpxml should do the trick when it comes down to Resolve. Maybe you should check out the workflow book they did on the feature film ‘Focus’. You can get it from iBooks. They tell you how they did it.
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[Jeremy Garchow] “Ill admit that I’m having a bit of trouble following exactly what is working and what isn’t. “
The final production has to end up on the machine with 10.1.4. The only reason I involved the 10.2.1 machine was to test the scaling issue in the FCPXML from Resolve. That’s when I discovered the second issue. So there are really two different problems.
I’ll work up a workflow blog post next week on my site that will be clear, now that I understand what’s working and what isn’t.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Mike Warmels] “Still, and fcpxml should do the trick when it comes down to Resolve. Maybe you should check out the workflow book they did on the feature film ‘Focus’.”
I’ve read the book and have had various discussions with Mike, Sam, Philip, Knut and others. I’m pretty comfortable with the FCP X and/or Avid workflow using Resolve, since I work as both an editor and a colorist. FCPXML is a moving target that still has a lot of flaws. Most of these occur when other parties try to write the correct format to go back into FCP X. Resolve included. That’s why most top-end grading house still prefer (and often will only accept) EDLs.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
Ah, that’s very interesting to hear. I run into little bumps here and there in the exchange. So far they say fcpxml is the way to go, but your experiences are a bit of a bummer.
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[Oliver Peters] “To clarify, when I try to import the FCPXML into 10.2.1 I get “out of frame boundary” errors for all clips. Well DUH! That’s what this whole process is about. Of course, the durations won’t match.
“Obviously the problem is solved, but I think this points to the issue.
An out of frame boundary does not indicate a blown duration, it’s about not having the specified frames of media that the XML is (wrongly) pointing to.
It’s as if your rendered clips had tc of 14:00:00:00 – 14:00:10:00 and the XML is pointing to 01:00:00:00 – 01:00:10:00. It’s not that the 10 seconds doesn’t reconnect, it’s that the time specified in the XML doesn’t exist inside the file you’re pointing to. It’s literally out of bounds.
I’d look at your busted FCPXML and the new and good FCPXML and compare the start times to a few of the clips. My guess is that you’ll find the discrepancy.
Did you do the grade is Resolve or are you just using it to conform?
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[Jeremy Garchow] “Did you do the grade is Resolve or are you just using it to conform?”
Both.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Mike Warmels] “So far they say fcpxml is the way to go, but your experiences are a bit of a bummer.”
I use Resolve to grade for editors who send me xmls and AAFs from various versions of Avid, Pr, FCP7 and X. There are always minor issues. A lot can be done to improve the process if editors could supply interchange without proprietary plugins or nested, compounded clips. Currently wrestling with an older Avid multicam clips reporting as nested and needing manual relinking. Also resizing works but may not when there is a push in move via a plugin in Avid.
Also Resolve does not need sound from the edit so do a flattened stripped down version of your final sequence (or timeline or Project :). And for gods sake make an H264 quicktime with your sound mixed as a guide. I usually steal that mix for reference when grading
But to answer you question fcpxml into Resolve seems more solid than AAFs in my experience but I mostly get projects from FCP7 or Pr so AAF and fcpxml are in the minority. Remarkable how Legend is still the NLE of choice for the majority of my clients.
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[Michael Gissing] “But to answer you question fcpxml into Resolve seems more solid than AAFs in my experience but I mostly get projects from FCP7 or Pr so AAF and fcpxml are in the minority.”
Just to be clear, FCPXML into Resolve has largely been OK for me. It’s the FCPXML from Resolve back into FCP X that’s been the issue this go-around.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Oliver Peters] “[Jeremy Garchow] “Did you do the grade is Resolve or are you just using it to conform?”
Both.”
Cool.
So you started in RCX.
‘Proxied’ to 1080p ProRes.
Imported those ProRes movies from the Finder (and not XML) to fcpx 10.0.9 and then did the Edit.
Sent to Resolve by FCPXML.
Relinked to R3D.
Grade and render (via “round trip”?) to 1080p ProRes from 4k RAW.
At this point, FCPXML sent back to fcpx 10.1.4 is flawed.
Opened said XML in 10.2.1 and it’s still flawed.
Opened said XML back in Resolve. Sweet as a Georgia peach.
Sent that ‘fixed’ XML back to fcpx (.1 or .2) and it works.
Is that the workflow?
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