[Jeff Kirkland]

If it’s not for broadcast, then just letting FCPX DP the conversion by just dropping the footage into a 25p timeline works fine but it isn’t always technically correct. Where it needs to be done well, I have used JES Deinterlacer which does a standards conversion that has passed even the most stringent broadcast QA people.

As to the iPhone, the better apps like Filmic Pro, etc are genuinely shooting 25p – even in log should you need it.

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Jeff Kirkland | Video Producer & Cinematographer
Hobart, Tasmania | Twitter: @jeffkirkland

[Jeff Kirkland]

Going from FCPX to Resolve is really your only way to do what you need. Not sure why Resolve is playing up but you definitely need to do some preparation work before sending any FCPX project over to it. Compound clips could certainly cause issues and I always try to break them apart and flatten the timeline as much as possible before exporting the XML.

There’s an overview of some best practices in this video

https://www.youtube.com/watch?v=cjpTAUSqlWY

and a google search will find you many more tutorials – but it sounds like you’ve already worked through a lot of that and if the issue is with Resolve itself you might get better insight from one of the Resolve forums.

That’s all probably not a lot of help but I’ve been sending a lot of projects to Resolve for relinking just lately and really haven’t come across the issue you’re talking about. The only other thing I can suggest is to make sure you’re using the latest versions of FCPX and Resolve to avoid any bugs that may have been fixed in updates.

Also unless I’ve missed something, FCPX got an update to handle MXF files a long time ago.

—-
Jeff Kirkland | Video Producer & Cinematographer
Hobart, Tasmania | Twitter: @jeffkirkland

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[Jeff Kirkland]

You can’t work in stops in FCPX. Most NLEs work in IRE which is based on signal voltage and there’s no simple direct correlation between the IRE percentage and stops of light.

Having said that, Magic Bullet Looks calculates its exposure in stops, not sure about their Colorista plugin though. You could also use something like LUTCalc, which works in stops, to create a LUT that adds an extra 2 stops of brightness to your image.

Otherwise it’s a case of using your eyeballs and stopping when it looks right on the screen.

Plus it’s a technique that’s relates to film but doesn’t really translate to digital shooting. It’s the equivalent of under exposing your footage by two stops then bringing it back up in post, which in a digital world will lead to noisy footage.

—-
Jeff Kirkland | Video Producer & Cinematographer
Hobart, Tasmania | Twitter: @jeffkirkland

[Jeff Kirkland]

You can’t export individual clips from FCPX but as Noah said, you can open the library in the finder and get compressor or some other conversion app to batch process the individual clips.

I personally find I need to trim the imported clips a little so I tend to use Resolve for this sort of work. Either capturing and trimming in FCPX and then exporting via to XML to Resolve to render out the individual clips or just doing it all in Resolve. I usually do the FCPX option as that’s my preferred app.

—-
Jeff Kirkland | Video Producer & Cinematographer
Hobart, Tasmania | Twitter: @jeffkirkland

[Jeff Kirkland]

You should be able to use the drop down at the top of the text style panel to save your new style. Then use the timeline index to quickly select all you text and apply the saved style to them.

—-
Jeff Kirkland | Video Producer & Cinematographer
Hobart, Tasmania | Twitter: @jeffkirkland

[Jeff Kirkland]

Hold down the alt key as you click on the volume line. Or select a range under the voice over and just reduce the volume inside the range, which will add points and a bit of a fade either end.

—-
Jeff Kirkland | Video Producer & Cinematographer
Hobart, Tasmania | Twitter: @jeffkirkland

[Jeff Kirkland]

Any pre-timeline correction is going to be global just correcting any overall imbalance between the cameras.

The reasons I do that with clips inside the multicam editor is that a) it does ripple back to the timeline if I want to go back and modify it after I’ve started cutting and b) I have the multicam viewer available so I can see all the other clips for reference while I’m tweaking.

—-
Jeff Kirkland | Video Producer & Cinematographer
Hobart, Tasmania | Twitter: @jeffkirkland

[Jeff Kirkland]

You can save effects presets in FCPX and reapply them later.

Or you could copy/paste effects from the original timeline back to the new Resolve clips.

Or you could argue that any non-colour modifying effects are integral to the image and bake them in.

—-
Jeff Kirkland | Video Producer & Cinematographer
Hobart, Tasmania | Twitter: @jeffkirkland

[Jeff Kirkland]

If you’re talking about doing it in the timeline, your way will work but If you colour correct inside the multicam editor you can go back and make changes to the grade globally, even after the edit.

If you want to grade a clip in the browser, then right click and choose Open Clip. Apply the correction there. But if you go back and make a change, it won’t ripple downstream to the timeline.

—-
Jeff Kirkland | Video Producer & Cinematographer
Hobart, Tasmania | Twitter: @jeffkirkland

[Jeff Kirkland]

I will usually colour correct one of the cameras by applying the effect to the clip inside the Multicam editor.

—-
Jeff Kirkland | Video Producer & Cinematographer
Hobart, Tasmania | Twitter: @jeffkirkland