Daniel Bernard
Forum Replies Created
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Not sure my answer will be clear, I think I’d need to illustrate, but I’ll give it a shot.
It wouldn’t work because what goes and doesn’t goes into Resolve isn’t organized. If I select all the clips that shouldn’t go into resolve, I’d be selecting clips from the storyline, the secondary storyline and connected clips and those that have transitions to clips that aren’t selected would drift. So I’d end up with an unsychronized messy compound.
The thing I could do would be creating several compounds, but it just takes longer than the method I use right now and more complicated with a higher risk for software issue.
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Sure, I’ll give you an overview.
First, I make a duplicate of the offline project.
I export a timecode burn in version of the offline and then make two new projects, _toRESOLVE and toPATCH. On the main storyline of both these projects, there is my TCBI QT of the offline, used as a referenced to make sure everything is still synched.
I then open the offline duplicate, CMD+C all the clips that are going to Resolve and ALT+V them into the toRESOLVE to project, spot checking to make sure everything is still synched with the offline. I then go back to the offline project, select everything that is not going to resolve and do the same thing in the porject toPATCH.
I then send the project to RESOLVE, grade the heel out of it, send a new XML to FCPX, import it, select everything in toPATCH project, CMD+C and then ALT+V in my fromRESOLVE project and we have a show.It’s still an overview, there are still some more details, but it’s roughly how I manage the roundtripping from one software to the other.
Why were you curious? Are you working with FCPX / Resolve duo too?
Daniel
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While I did not use and adjustement layer, using a filler clip (for me it’s a QT of the offline), seems to do the trick.
As for you curiosity, it’s all about roundtripping FCPX – Resolve.
I work on the online and the grading of a 45 minutes TV program. The offline sequence I receive consist to:
Several hundred cuts (around 900) with alot of speed ramping (around 100), several tiff images (couple hundred occurences), Hold frames too, hard mattes and ProRes4444 overlays clips and, finally, titles.
As you can read, it is quite a heavy project to handle. I use the Copy-Paste as connected clip technique for quite a few things. But it’s basically to deconstruct and timeline (or project if you wish) and building it back again. For example, tiffs, mattes, titles, Hold, and still images don’t go to resolve. So I need to put them aside and be able to bring them back on again. For another example, I need to copy all speed ramp to a new project, bake the speed ramp in and then bring those clips back into the timeline, since the speedramp seems to drift both, when it gets to Resolve and when it goes back to FCPX afterward.I always manage though, I’m always just curious to ask around if there are some ways to improve the workflow. FCPX is still a relatively young software, therefore there are still ways to be discovered.
Thank you,
Daniel
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Thank you all for you help and comments.
For the paste at the end and Compound clips, those are both very good advice, and I actually do both in some situations. I was hoping there’d be a way to do that without having to work around the software.
Thanks again
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The generator has nothing to do from my understanding of you project.
The edge comes from one of your clips, so it needs to be fixed on you clip. As i said, masking it or keying the white should do the trick, I see no way around, because when in transition, you have 50% opicity of eachclip, if one of them has a hard white edge, you’ll feel it on the other image. You could also just soften it by using a multi point garbage matte and using feathering. Here is a link to a quick tutorial on the 8 point garbage matte
https://www.rippletraining.com/using-the-8-point-garbage-matte-in-final-cut-pro-x.html -
Ok, new answer for you. Just checked it out with a colleague at work and we noticed something:
The straight cut that is over the clip, isn’t it the border of the clip your transiting too? I mean, the white background of the clip isn’t an Alpha channel, it’s solid white. You could either try masking it or doing a keying it. I believe there is a basic keying tool in FCPX, you could give that a shot. I’m pretty positive that it’s the root of your problem. -
Ok, I had another suggestion in mind too.
Have you tried Blading the solid underneath and simply applying the transition to both, Multiclip and White solid?
It may seems like a stupid solution, but it might do the trick. -
It copies super fast, as expected and yes, the backup file is roughly the same size.
I feel it’s really a size limitation on the part of the software. I made a quick test and was able to open in a relatively reasonable amount of time a 400mb, a 410mb, a 415mb, but the 422mb won’t open, it hangs for ever. They are all the same project with me just adding a little things to make it heavier and heavier.
So for anyone wondering, there is a 420mb cap on Project size, even though it’s never mentioned anywhere in the documentation!
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No analysis file in the project. It’s just a very effect heavy 45 minutes show for TV.
The problem I have now is that it’s not opened. The fact that I’ve detached audio for the whole show seems to make it A LOT heavier.So, to you too it seems like the size of the currentversion size could be what’s keeping me from loading the project?
I’m just trying to figure out what’s going wrong since we have a full season to deliver 🙂Dan
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Hello,
have you tried exporting that part as a QT? By default, FCPX preferences is set to Playback Settings – BETTER PERFORMANCE. While it goes smoother with this settings, it sometimes show strange behaviors on playbacks that aren’t really there. For example, on Better Performance, when i play back a video with a hard matter 2.35, it leaves a white line all around the black frame. If I export a QT, it’s not there and if I use the Setting Better quality, it is fine.
Give it a shot and tell me how it goes.
Dan