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Long form workflow.
I’m doing a personal project I started a while back, 85 minute project.
I’m trying to figure out what the best workflow is for getting the project back into FCP.
Rendering a solid QT is not ideal as there are things I want to add etc etc etc.
I tried rendering in source with the same names as the previous files, made offline in FCP.
Most everything reconnected fine, but 30% are missing on the reconnect, also TimeCode errors are on every clip on reconnect. I don’t feel like this is a solid workflow..What is the best way to get the material back in FCP?
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12 Replies
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I also just tried saving an EDL from the conform page and importing that into FCP and then reconnected the source rendered media to that. Timecode errors galore. The conform inside of Resolve is perfect.. I just need to get it back over to FCP.
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What happens when you force the clips to reconnect?
twitter.com/illyalaney
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When I force reconnect some of the clips are completely off.
Some of the clips are short a few seconds etc etc -
What are the details of your sequence, media, speedchanges in FCP?
twitter.com/illyalaney
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Lots of speed changes and dissolves, which, now that I look at it.. is another area where things are screwing up.
I exported the speed changes and threw them back into Resolve.. However once rendered out of Resolve I’m having to manually import them.Also, many of the clips that have red lines above them in Resolve have problems as well. Resolve seems to be automatically grouping these?
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Updated link, sorry:
https://forums.creativecow.net/thread/277/4075#4075
Unsure if it’s any help in your case anyway, but you never know!
J
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If you have speed changes in the FCP timeline, export the EDL, then these speed changes will be applied to the clip in Resolve too.
So if you import to FCP using an EDL with a setting for speed change (I’m not sure what it looks like in an EDL, but you might have to delete it..) it would apply a speed change to a clip that was already rendered with a speed change, thus making the clip a lot shorter than it should be. Right?
Clips with a red line above them is an indicator to you as the colorist that those clips are form the same source footage. So if you make an adjustment to one of them, it applies to them all. Easy workaround: add versions to the other clips. This makes Resolve treat them as individual clips.
There’s possibly other ways for doing that, but that’s what I’ve found so far and work with. That said, I like that they are treated as one clip. This means I can do the base grade on one of them, and once that’s done, I can go in and add a version, make vignettes and track them as I please for each shot.
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If you right click on any clips with a red line at the top and click batch unlink that will break the link for all clips associated with that file.
Hopefully a little bit quicker than making new versions every time!
Hope this helps
Dan Moran
Application Specialist
Blackmagic Design EMEA -
Dan the Superman saves the day, yet again. 😉
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