[David Baud]

[Danny Thompson] ”
Can anyone give a hand and write up a solid workflow for mixed-rate FCP timelines?”

I won’t be able to give you a solid workflow (other than Juan recommendation!) but I am going thru this as we speak using Premiere Pro. I am working on a documentary with a mix of progressive frame rate (25, 29.97 & 50). Because of the nature of some video codecs, I wanted to get the video into Resolve as close as to the original format. So I decided to keep the mixed frame rates based on the Resolve manual: if you export from Resolve 10 as individual clips, then you will retain the original frame rates. Interestingly enough, when opening the XML file into FCP, FCP does not recognize the mixed frame rates, whereas Premiere Pro does! So this might not work for your particular needs.

One word of caution so: this workflow does not seem to work with speed remapping footage.

David Baud
Post & VFX
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com

[David Baud]

Thanks Sascha… yes it is too bad that Render Cache is not working better. I also wish there would be an easy way to deselect all “Mark clip for render cache” from clips, so at least you could work in a short sequence.

[Sascha Haber] “But you could render the whole thing using the “professional workflow””

Are you referring to a specific workflow? any link?

Thanks,

David Baud
Post & VFX
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com

[David Baud]

[Eric Chase] “A rendered out export of your video only (minus graphics) is problably your best bet.”

My only problem with this solution is if you are dealing with some over range signal with the original camera codec, then when exporting you might just clip that information with no possibility to recover it in Resolve

David Baud
Post & VFX
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com

[David Baud]

[Francois Driessen] “1. Re-Wrapped clips from the FS700 & FS100 does not work in Resolve for some reason. They show up but I don’t get proper RT playback.”

That is strange. It works just fine here. Have you checked the option for converting the audio to LPCM in the Clipwrap/Preferences? Maybe your issue of playback is related to your frame rate speed change in PrP?

[Francois Driessen] “PrP uses 00:00:00 as start code for every MTS clip that is cut.”

Why is that? all my MTS file in PrP use the original TC from the camera… when I rewrap them, TC is retained as expected…

David Baud
Post & VFX
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com

[David Baud]

[Francois Driessen] “I’m spending more time trying to conform than grading…”

I am afraid it is highly depend on the type of project you color grade. Right now I am working on a feature length extreme sport documentary, and I have to deal with all kind of cameras, from Gopro Hero 3 to Sony
F55 or RED cameras. I want to be able to get every possible bit out of the footage, so thru conform, I make sure I keep as much as possible of the original footage all the way to Resolve. In my case conforming is a big part of my work, including understanding the codecs used.

[Francois Driessen] “Workflow: Due to data logistics constraints and MTS media used by the editor, the only way to get the program into Resolve is by importing a flattened single rendered ProRes file that contains the whole program.”

There is a way 🙂 It is true that .MTS files are not recognized by Resolve (9 or 10). You need to re-wrap the .MTS file into a Quicktime file. I used Clipwrap which allows you to re-wrap files in a batch. Make sure you keep the same file name than your original and when you relink in Premiere Pro, uncheck the option that looks at the file extension.

[Francois Driessen] “EDLs. I’ve had TONS of problems with Resolve & EDLs from PP in the past if there are speed changes using PP’s time-warp feature.”

I have not tried PrP EDL for a while. My understanding, your best bet to go from PrP to Resolve is to export your sequence via FCP XML. This is what I do. Any special effects won’t translate, but unfortunately I believe you will have the same issue with a different NLE. PrP Speed/duration on a clip will be honored if you are not exceeding a frame rate limit (I am still figuring this one out!)

I hope this help,

David Baud
Post & VFX
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com

[David Baud]

Jim,

I would recommend an intra-frame codec, like ProRes.

David Baud
Post & VFX
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com

[David Baud]

I believe they are some confusion here… a still picture is defined by its width and height. In the printing world the third parameter, the resolution, is the number of dots per inch (dpi). Higher is that number (300dpi, 1600dpi, etc…) better will be the resolution on paper (if the printer can resolve that number).

Now when working on a computer screen, the resolution parameter is always consider the same for every screen (72ppi or pixels-per-inch, or the equivalent of 72 dpi). Before, when working with a video application if you had any other resolution numbers, the application might crash or take some time to process that picture with some unexpected result. Today I believe some modern applications ignore that number all together. Still as a routine I always convert the pictures intended for processing in a video application to a resolution of 72ppi.

Let say I have a JPEG file with the following size:
width: 2500 pixels
height: 1937 pixels
resolution: 350 dpi

in Photoshop, I go to Image Size and modify the parameter in that order:
resolution: 72 dpi
width: 2500 pixels
height: 1937 pixels

and save that new still picture. On screen it will appear that nothing has changed. Now I can work with it in After Effects or Premiere without fear 🙂

To summarize, in the video world, if you want to change the size of your still picture, modify the width and the height and keep the resolution at 72dpi.

I hope this help,

David Baud
Post & VFX
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com

[David Baud]

I am afraid you clipped your white when shooting… meaning there is no information in that part of his face that you can recover… you can see that on your waveform… if you want to minimize that issue I would use some artistic choice to keep the attention of the viewer away from this part of the picture as much as possible… maybe go black and white? or de-saturate the whole clip? it really depends how you cut your whole sequence before and after that particular clip.

Good luck,

David Baud
Post & VFX
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com

[David Baud]

Look into the menu bar: View/Window Outline

I would also recommend you read the Resolve Reference Manual, I find it pretty well done. For example, for your question you will find an answer on page #292. You can access directly to it from the Help menu.

David Baud
Post & VFX
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com

[David Baud]

Option-D on a mac?

Here is the official keyboard shortcuts list:
https://tinyurl.com/d9cuo8f

HTH,

David Baud
Post & VFX
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com