snag in FCP reconnect workflow

[Illya Laney]

You don’t need to use an EDL. Render out to a new folder with the same clip names and reconnect in FCP. Right click on the sequence and reconnect to the media in the new folder. If the clip names are the same as the originals it will work. I’d recommend duplicating the sequence first.

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[Blase Theodore]

It’s not the reconnect thats the issue, its what’s reconnecting.

Lets say I have a 20 min quicktime file called reel1.mov, and the FCP timeline has 30 clips on it which all have reel1.mov as their source. I generate an EDL from FCP, I import into resolve with clip names, and now I have 30 clips on the Resolve timeline named reel1.mov.

When I go to render them, it will render a new “reel1.mov” clip for every one of those 30 clips, right? And unless its set to new folder per clip, it will just overwrite that same file with each new clip it renders?

That would mean I’d have to manually connect a whole lot of shots to new folders.

I guess the question here is, is there a better workflow for this?

Even better, I’d request that resolve be able to consolidate renders. Such that in the above scenario, resolve would render a single QT for reel1.mov from earliest timecode in to the latest timecode out?

[Illya Laney]

“Even better, I’d request that resolve be able to consolidate renders. Such that in the above scenario, resolve would render a single QT for reel1.mov from earliest timecode in to the latest timecode out?”

I’m not sure if I’m misunderstanding you, but can’t it already do that?

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[Blase Theodore]

No. I’d want all the clips from reel1.mov rendered to one big reel1.mov, and the same for reel2.mov, down the line.

If you’re referring to target mode, it just renders everything on the timeline (all ree1.mov, reel2.mov, etc) down to a single quicktime.

Correct me if I’m wrong.

[Darin Wooldridge]

I think this is a workflow thing. Try this.

Increase the preserve source directory button and add a cc_render directory to the path..
It will then keep them all in the source file structure inside the new cc_render directory.
No overwrite will happen.. FCP should work if you relink to this new folder.

Best,

Darin Wooldridge
Freelance Colorist / Technical Strategist
818-653-3918-cell
dwooldridge@mac.com
check me out at https://www.facebook.com/pages/Davinci-Resolve-Colorist/117363011609028?ref=….

[Blase Theodore]

Doing the “render each clip to separate directory” isn’t really a great solution because then you just have 30 folders each containing “reel1.mov”. Reconnecting in FCP is a crapshoot on whether you’re connecting to the right one.

If you just have media that all have the same grade, then there’s no problem. It renders 1 big clip and you’re done. But if any of those clips have speed warps, or different versions for grades, then the whole thing breaks.

The workaround is
“use commercial workflow”
“reels in separate..”
“use version as name” ?

When you go to FCP, you still have to click “search” for every single clip, but at least it will find the right clip. (With the exception of clips that have alternate grade versions, which still need to be manually reconnected).

This works but is ungodly cumbersome. I’d love a better factory solution?

[Blase Theodore]

Ok both workarounds have problems:

Render to separate folders:
shots with dissolves are cut at the dissolve point, so 2 clips are rendered. Resulting media is too short. Render with 10 seconds of handles to workaround.

Commercial workflow:
works but any speedwarp shots break it if they are not set as alternate versions.

In short, both workarounds are painful.

[Vladimir Kucherov]

I’ve been banging my head against the wall about this for the past 4 hours.

Here’s the problem again in a hypothetical situation, if anyone is still confused:

Say the source material is just one quicktime file called “mastershoot.mov” – it is 5 hours long.

From it the editor cut a 30 second commercial.

You bring in mastershoot.mov and an EDL into DaVinci, and you grade. All is good.

Then you wish to render out in source mode (say, the client wants handles so they can tweak the cut later).

Every single rendered out file will be a small part of the 5 hour “mastershoot.mov”

However, it seems like FCP doesn’t really understand this well. It expects just one file. It doesn’t want to open up 100 files auotmatically, scan their timecode, and decide which of these clips goes where.

Rendering out to folders works but you have to manually connect each clip and FCP still throws error messages at you.

I think the easiest method to “fix” this type of issue would be to have Resolve have the option to generate a NEW edl on output. This, in addition to rendering out clips with unique file names, will allow you to import into FCP or another app and relink easily.

[Vladimir Kucherov]

Okay, here’s one very hack-y solution, although it doesn’t help me with handles..

Just render out as source, with each clip in folder, then arrange by date created in finder, select all, and drop in timeline over original footage. It should line up correctly.

Then, you’ll have to re-do motion effects, but you can do that pretty quickly by copy pasting attributes. I’m guessing less work than manually reconnecting a lot of clips.

[Blase Theodore]

There’s a better solution, thats so simple its retarded.

Dupe your sequence into a new project. Select all clips, make them independent.
Media manage, set to copy, delete unused media.

FCP will create unique clip names for every file. 30 subclips of reel1.mov become reel1-1 reel1-2, etc..

Set resolve to render source as usual. Offline and reconnect to the new graded folder.