-
Should I be finishing in AVID or DaVinci?
Hey guys quick question.
I typically edit a low res cut of my projects then send to RESOLVE via AAF do coloring on the RAW image file and then export a 4K DNXHR 444 for Media composer. I’ll then pair the music or add graphics etc and export an H.264 from there. However, it hit me the other day that perhaps I should be exporting from Resolve so that it exports right from the RAW file instead of from a DNXHR. Just curious what most people do, and actually what happens with Hollywood Films. Let me know your thoughts!
-
15 Replies
-
Hollywood films don’t go back to Avid. It’s cut in Avid, and then sent elsewhere to finish. Some indie features are finished in Resolve and exported directly to DCP. Higher end films go to Scratch or Baselight or other…but yeah, rarely do you go back to Avid.
For broadcast work, I take it into Resolve, and bring in the finished audio stems and do all of my exports from there.
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
You don’t end up with just an H264 surely?
An uncompressed master or DPX? DCP or JPEG2K?
Whats the point in so much effort for an H264?Access to the RAW is useful if you need to access content lost in the debayer process.
As said for features its Avid offlne then grading and direct out. No round trip.
For broadcast a lot just grade in Avid but some round trip. The real laugh is I’ve never had an issue matching a late shot replacement using an Avid to grade to match the Resolve grade.
Pat Horridge
Broadcast & Post Consultant, Trainer, Avid Certified Instructor
Free online Tutorials at VET digital media academy online https://vimeo.com/channels/752951
pat@vet.co.uk -
Got it! H.624 is how I end all of my digital projects as most people hire me for YouTube Vimeo and Facebook needs. I don’t make films but I like to keep myself trained and ready for that when the time comes so I was curious what others do.
-
Shane,
So when you do that final export out of resolve I’m guessing you used an AAF from
Avid to bring the file in as opposed to a video mixdown or reference movie right? Makes sense I’m just creating extra DNXHD footage when I recut online I was just worried about lower thirds and other graphics playing nice with Davinci.Terry
-
Even still, I may export a full res master and THEN make your H264 file after with a compressor with more control. You’ll find better results in the quality of the file if you export a full res ProRes HQ or DNxHD (or whichever flavor to your liking), and then tweak the file from there having all the information. I’ve never been super impressed with the H264 compression directly from AVID.
Also in general, you may find that having that full res master at the ready comes in very handy in a pinch. It will allow you to bake the file six ways to Sunday if need be, when the client inevitably comes back and wants a version in a different file format. You won’t have to open AVID again to access the first generation.
Happy finishing.
-
I get both…an AAF of the project AND a full res Quicktime file, for the times they have composited shots, or stills, or transitional plugins I might not have.
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
So do you just layer the quicktime over the footage files that were composited to replace that chunk of high res media? Davinci is usually pretty slick with handling comps etc I’m just interested in that part of your work flow.
-
[Terry Leahy] “So do you just layer the quicktime over the footage files that were composited to replace that chunk of high res media?”
Correct. If it’s a composite shot built in the main NLE, I ask that, if they cut offline, that they online that section (if they don’t already bring the full res media in before they send it to me) and export a video mixdown, or full res Quicktime of that section. Typically, with the stuff I get, it’s got all, or most, of the media in at full res. So I ask for a full res QT export to patch areas like that…and where there are stills or sections with transition effects that won’t transfer to Resolve.
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
Got it that makes perfect sense. Only hiccup I could see would be that you lose the ability to color that part if graphics are flying around so it would have to not only be Online but already colored footage.
-
Yes, in that case, the footage would have to be graded, and then given back so they could make the comp. Or, as often happens with graphics people that comp in After Effects, we have them grade the footage in their composites, because of this exact issue
Shane
Little Frog Post
Read my blog, Little Frog in High Def
Reply to this Discussion! Login or Sign Up