FCP7 to Resolve 12 XML issue

[Marc Wielage]

What kind of camera files are they? Resolve depends on the Reel Name information and timecode information for the conform, and the file names have to be unique.

In worst-case scenarios, you can load in all the camera files first, then bring in the XML and manually go through and sort out any clip conflicts. Read the sections in the manual on conforming (pp. 524-558 in the manual) and you’ll find a lot of tips on what to do with problematic file names or reel names.

[Glenn Sakatch]

I’m wondering if you were editing with mixed frame rates in FCP.

I find that becomes a nightmare for that box and premiere, as they convert the media “on the fly” and then spit out a list pointing Resolve to files with timecodes that don’t exist.

Glenn

[Michael Jozefowicz]

Thanks for the advice. I’m going to go try what you said right away and hopefully it will help me along. Most of the footage was shot over a few years with a Nanoflash enabled Sony EX3 but there are also GoPro and some older footage included.

Glen might have a point about mixed frame rates as some of the footage was archival. I will have to go check that out.

Thanks though! Will report back if I manage to solve it.

[Michael Jozefowicz]

I think you may have a point Glenn. the “… spit out a list pointing Resolve to files with timecodes that don’t exist…” part especially seems to be what`s happening.
and as I mentioned above there is some archival footage which we needed to highlight events in the past and I`m not sure if those clips were different from our 25fps. Feel like a bit of an idiot for not checking that but yeah will have to go back and check it now.

Does anyone here know if going from FCP7 to Premiere and then from there back to Resolve might work? Worth a shot?

[Glenn Sakatch]

In my experience Premiere does the same thing as Final Cut.

Avid is the only box I’ve used that properly converts the timecodes needed into a list for Resolve.

I usually wash projects given to me from FCP and Premiere through Avid first. Unfortunately, that usually involves some manual shot replacement.

Glenn

[Michael Jozefowicz]

Thanks Glenn!

Going to go ahead and try that then.
Some shot replacement is still way better than replacing all the shots. Will post if it works. Which I hope it does. Otherwise I’ll just bite the bullet and re-edit.
Thanks again.

Michael

[Laurent Fluttert]

Sorry for my late reply, I just read the original post.
I would not bother going back to the original files. Why not just export a QuickTime of the whole episode, also export an edl of videotrack V1 and use that edl as a preconformed EDL in Resolve. (Put the QuickTime in the media pool, right mouse button: timelines/import/pre-conformed edl). That way you will cut the exported Quicktime back to the shots and you’re ready to grade.

[Glenn Sakatch]

From a color standpoint, there are plenty of reasons to go back to the originals, depending on the type of camera, and how the transcodes were done in the first place.

Glenn

[Michael Jozefowicz]

Yes I think I’ve isolated my problem. It turns out that all transcoded footage lost their timecodes which is why Resolve can’t make sense of it.
I’m going to try out the process which is highlighted here https://www.ilovehue.net/PDF/FCPtoRESOLVE_procedure_20121119.pdf to see if I can make it work. This is based on Resolve 9 but hopefully the process will still work.