Timeline Copying

[Joakim Ziegler]

You can export EDL or FCP XML and then ColorTrace. But you are totally right, this has been a problem for a long time, and is really, really something BMD should fix, it’s pretty embarrassing.

—
Joakim Ziegler – Postproduction Supervisor

[Marc Wielage]

[Eric Klassen] “I’ve got colored clips from 3 projects that need to be set up in one timeline and played in a loop together. From my research, there’s no simple way to do this. Can someone help me understand the best workflow to set this up?”
If they’re already color-corrected, I don’t see the problem with exporting them all as ProRes 444 or DNxHD220 (assuming HD), then pulling the separate exported flatted files into a single timeline.

[Nat Jencks]

Yes its pretty crazy that a sequence can’t be exported and imported into a new project including color grades. And given that color trace can be a little finicky thats not always a perfect solution either.

I encourage anyone that agrees to email BMD and voice your desire for this rather basic feature.

best-
-Nat

[Eric Klassen]

Marc, the RAW files needed to be retained on this project. The project was getting sent over to another company for testing on prototype Wide Color Space monitors. As a control measure, we needed to know nothing was affecting the raw info. I understand we can maintain all raw color info now with ProRes4444XQ, and your solution would work in this case.

– Eric

Eric Klassen

[Marc Wielage]

[Eric Klassen] “Marc, the RAW files needed to be retained on this project. The project was getting sent over to another company for testing on prototype Wide Color Space monitors.”
What is the delivery format? To my knowledge, it’s not possible to render out Raw in any way. Raw is strictly a camera format, not something that can come out of Resolve. And the monitors can’t play back Raw — they can only play back an actual color-corrected file in a specific color space.

I think a lot of people cling to Raw when what they really mean is, they need all of the range of Log — which is not the same thing. A ProRes 444 Log file is going to give you 97% of what you need and will suffice for the vast number of most productions. If you need more, go with DPX. That seems to work for $150M-$200M blockbuster movies very well, and all you need is extremely fast drives and lots of GPUs.