[Joseph Owens]

[Kamil Wierzbicki] “next task is to transfer the graded piece into Avid.”

This will be interesting…

One major item to keep in mind with the AVID file management workflow is that although there is a somewhat “externalized” strategy available with AMA, Media Composer is always going to be happier with its source files in a [Media Drive]:Avid MediaFiles/MXF/[folder number] hierarchy so that it can build a media database (.mdb) file to bring it within the application’s orthodoxy. You can export a new AAF file describing the Resolve timeline, and as long as your graded media conforms with the filepath that will be associated with the exported AAF, you shouldn’t have too much difficulty importing that AAF file into Media Composer and getting a complete timeline. Be aware that filters indigenous to various software and manufacturers are not likely to make the trip intact.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

[David Mathis] “what is the best way to get that footage to Fusion and back?”

Fusion should support pretty much anything that Resolve can play back, so the choice is “whatever does not limit your ability to carry on corrections”, and what the definition of “uncompressed” is these days is somewhat subjective and doesn’t usually mean what it used to. “Re-compressed” might make more sense.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

[Andy Winter] “the price is very reasonable, isn’t it?”

If, by reasonable, you mean “0.0012677” of the MSRP for daVinci 8:8:8 (standard definition, circa 2000), yes, and an even larger price difference compared to a single seat of daVinci 2K+ with multiple power windows.

The license is the lowest-cost single item in this entire model.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

Simplest suggestion is to check the video range used for the export and/or how the imported video is being interpreted in the destination NLE.

Full Range RGB 0-100 IRE is interpreted in 10-bit depth to occupy 0-1023 while Linear 709 Video is ranged from 64-940. if these get mixed up (as they OFTEN do), the usual result is similar to what you are reporting.

its extremely obvious in a scope.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

This doesn’t sound like a $500M blockbuster inquiry. Otherwise there would be a post-super on this and it wouldn’t appear here.

There is a rough factor-of-ten involved in formats now, but of course the fine details of source resolution and frame rate wobble the numbers around a bit. Lets talk about 23.98 1080HD.

Depending on source format, we could be talking about 1 GB/minute of media, 10GB or 100MB. One is “Uncompressed” RGB (the big one), in the middle is an intra-based format (notably ProRes, DnXHD…) and the smallest container is a Long-GOP compression. Zero tolerance workflow dictates the full pixel-for-pixel advantages of the uncompressed container — widely expressed as a sequential .dpx approach. Its obviously a high-bandwidth demand on system resources. The Quicktime/MXF approach with a “visually lossless” codec like ProRes is right in the sweet spot for most broadcast and middle-ground productions. The Long-GOP (H264, etc.) class is a non-starter for multiple-generational post production work.

Whether you grade prior to FX work or try to integrate compositing or other paint/conceal, repair, or enhancement entirely depends on exactly what it is you are trying to do. There is no set answer to yes, definitely grade this before it goes to FX, or no, wait until we get it back — possibly because the one FX shot in a scene might need a treatment matching it into the sequence that is inconsistent with the needs of the FX artist. Say its a muzzle flash from a firearm… does the rest of the scene need a little bright-up to absorb the moment of illumination? Is there something in the grade that will hoop the FX wrt pulling a clean matte?

We go around this loop every time with every shot at every level. If its plate work, do you grade the fg/bg to match and then send it to FX? Or do you pull the composite and then send the finished shot back to grade with an alpha qualifier so we can match between the layers? Can your fX supplier work with ProRes — like maybe they can’t if their in a Windows environment? Does their infrastructure work better with dpx sequences, or QT/MXF? If you’re* it*, then its really up to you to sort out – the choices that have to be made are between flexibility and logistics with the solution appearing when everybody can do what they want without being limited by someone else’s decisions.

Interestingly enough, this morning Boris released their BCC Continuum with integrated Mocha. Something I have been pestering everybody about for the last 6 years. Yes, we now have the Mocha planar tracker accessible from within Resolve. If we can pass that matte through the FX node, hoo-hah… Doris, get me heaven on the line, I’m coming home.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

Should be as simple as Export… a drp.

That would be how I would back up a project(and expect it to stay intact) and I share Resolve projects with several editors now.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

[Eric Klassen] “I have a timeline with several clips that are nested. When I export the EDL/XML, none of the nested timelines are showing up.”

So you have a puzzle wrapped in a quandary, buried in an enigma.

What would be most straightforward to hand off would be a non-nested sequence, but at this point, I’m not sure what NLE is in play and how easy it might be to “unpack” the nested sequences so they reveal the primary clip path references unambiguously. The big stumbling block here is that each sequence has its own layer hierarchy and if a number of sequences are stacked over each other with clips built from Layer 1 upwards, than Resolve is not going to know where to put anything so they aren’t trying to occupy the same location on the timeline.

In Final Cut Classic you can command- drag a sequence onto a timeline and essentially copy/paste (un-nest) the entire clip/media payload in situ where you release the button.. you could be re-building a non-nested original timeline and Resolve would not be unhappy about that.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

“Color temperature” controls (in reality a “mired shift” slider because there is no whitepoint definition) is a new feature of Resolve 12.5 which can be used to modify the cyan/amber color balance in a clip.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

Render a mezzanine 2K (Archiving at source resolution means never having to say “sorry”) and use it to export whatever else you might need, HD only being the beginning of a long list of deliverables that broadcasters usually want. I am very impressed with Compressor 4.2.2.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

[Goran Šafarek] “I am still not sure is it up scaled too from 1080 timeline or directly from 4k in Media pool?”

Maybe you are unsure of how referenced clip timelines function. The representation of your media on the timeline, regardless of the sequence resolution is always interpreting the source clip as it is accessed through its directory/media path to the source folder. If that original clip does not match the sequence settings, the software re-interprets the source clip in some way to help it make sense (resolution, intra-GOP, aspect ratio, field dominance, and so on). Various NLEs employ a variety of strategies to try to “frame-fit” a circus of formats into a unified structure. Sometimes the clip is re-sized, cropped or squeezed — and how that adjustment is communicated to the user varies. Sometimes its in a “Motion” tab, sometimes in a PTRZ window… the only consistency is that software developers are totally inconsistent in how this adjustment is applied or communicated — and that becomes a problem with third-party round-tripping between applications that have their own methods. “Render at Source Resolution” means that Resolve will apply your corrections to the source clip and render it as it exists, straight from the source folder where it resides. This is actually quite helpful if there are PTRZ adjustments that an originating NLE has introduced and then hidden. When the (for example) 4K render clip gets back to the Premiere timeline, it will reappear the way Premiere expects it, and it will down-rez it again, from the 4K original item properties, if in fact you are working in 1080.

When a source clip at a higher resolution is introduced to a timeline at a lower resolution, it does not affect the source clip’s resolution — in your case, it will always be a “4K” clip re-computed for proper display on a “1080” timeline — but the source remains at its original resolution. If you choose to render out at 1080, then it will be down-rezzed and the graded clip will be a down-rezzed 1080 version of the original. If you choose Render at Source Resolution, then the render is one-to-one from the source clip and you will get a normal 4K graded clip. Of course, its also very helpful not to be working in an alphabet soup of formats.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.