[Robert Pitman]

Why not use an AAF into Resolve for R3D grading when edit is locked?

If you need to return to Avid from Resolve, export Online DNxHD MXF (put in Avid MediaFiles>MXF>’number’) and a new AAF to build edit (add handles if desired). I did this with 6.5.2.1 for a student that forgot to bring all Offline Media for the edit, Avid still exported all the correct information in the AAF and worked perfectly in Resolve and back to Avid. I love it.

Cheers,
Robert

[Robert Pitman]

I totally agree with you Fred, especially about a “transcode free” NLE is not the ultimate goal. Partly because I hope that cameras keep pushing the limits of bit depth, data rates etc and demand a offline on online workflow because they are better than what we an imagine possible today.

It is still Avid’s job to keep chasing those codecs down and make our interaction as editors easier and easier with these codecs or resolutions. I see the (selectable) databasing of AMA volumes as part of Avid making our workflows more mature and I look forward to Media Composer 7 because of it.

As someone relatively new to Media Composer I can tell you I am whole heartily impressed by Media Composers deep control of media inside its MXF system. Watch how your ideas of “media offline” or “media managing” a finished project or moving system to system mid project changes once you get grounded in the program.

Don’t sell yourself or Media Composer short by not looking at the positive and negatives of different workflows (true of any program) can give you. Finding the time is the real issue.

My way into Media Composer has been the excellent Avid training programs (getting David East as our trainer sure helped this) and equally excellent course books they offer, plus the great video podcasts by Kevin P McAuliffe and reading here on the cow.

Also check out Avid’s forums at https://community.avid.com/forums
You will need to create a user, I believe?

Cheers,
Robert

[Robert Pitman]

Hello Michael,

The way I like to work (which is not for everyone) is to transcode to DNxHD36, edit and reframe as needed and save out an AAF to build my edit in Resolve. The AAF will save all your reframes (including keyframe moves – but test first) and can be turn on or off at conform (import AAF option window) or can be activated or de-activated on a per clip basis. All reframes are % based on any resolution you work in. So you can edit in MC at 720P and Online in Resolve at 1080P or 4K and the reframes will be the same.

I use this for open matte style of editing offline – shoot 1.89:1 on the Epic (with 2.39:1 or 16×9 frame guides), edit and reframe as needed. In Resolve create a custom timeline 1920×804 or a normal 1080P. Then under “Image Scaling” set to “Input Scaling Preset: Scale full frame with crop”. This will either cut off the 2.39:1 image top and bottom plus your reframing (moving up, down, in or out) or cut off a very small amount off the sides plus your reframing (moving up, down, in or out).

I then export back to Media Composer with a new AAF – anything Resolve can’t do is still in the AAF and is completed by MC.

For non-transcode workflow, you could try (untested by me), editing with AMA R3Ds and exporting a AAF to Resolve and see if the reframes work and export back to Media Composer by rendering out DNxHD or ProRes? Saving you rendering all the offline clips.

Or wait for Media Composer 7 and do it all in one program?

I hope this is helpful?

Cheers,
Robert

[Robert Pitman]

Thanks for that Alex.

Cheers,
Robert

[Robert Pitman]

Hello Megan,

Have a look at the Resolve manual on AAF workflow for import and export steps, it is really useful.

Are you getting a conformed timeline with all media offline?

I had an issue with REDcine 17 exporting ProRes Quicktimes with camera timecode breaking 1/3 of the through the file. This meant the Resolve conform was impossible with the AAF or XML. The timeline would be built, but all media was offline. I had to re-export my offline (used master timeline in Resolve this time) reconnect media in NLE and re-export AAF or XML.

I was using EPIC 5K footage at 25 frames. REDcine 17.3 looks to have fixed the issue.

I hope this helps?

Cheers,
Robert

[Robert Pitman]

Hello All,

I just want to add another personal experience with the BMD support for Resolve. I’ve emailed and called with a number of issues (plus non-issues, in other words user error) and I have found the replies to be detailed, timely and polite.

The one time I had an important deadline with real issues; exporting 4K for a DCP from EPIC 5K footage, the local support advised me to discuss with Peter Chamberlain. I was transferred to his mobile while he was travelling in Japan. Peter was able to answer all my questions and with his support the project was completed perfectly.

I totally respect what other users are saying about their experiences, I just wanted to add mine. I hope that when any of us (new, intermediate and professional users) need support that BMD support or a growing user base at Creative Cow can help us all out. How to make support more efficient is the hard task for BMD and Creative Cow. The Da Vinci Basics & Configuration forum can only help.

Also I’d like to thank BMD support and the users in this forum for the support and inspiration with this great software.

Cheers,
Robert

[Robert Pitman]

The Resolve PDF has many great answers for basic and advanced tools you will use in Resolve. That being said I still love hearing more advanced users answer how they get the best “non-manual” use of the advanced tools.

Have a look at page 53 or see the attached image:

I hope this helps

Cheers,
Robert

[Robert Pitman]

Don’t know if I’d call it a workflow, but look at OpenDCP.

You can render out of Resolve as 16bit RGB tiffs or dpx and OpenDCP will convert your RGB tiffs to XYZ j2c files. Then you MXF the frames/audio and finally add DCP metadata for the server.

Know your pixel size, i.e 1.85:1 4K=3996×2160, 1.90:1 =?, 2.35:1 4K=4096×1716 etc etc

I’ve just finished making 13 DCPs in 4K for a collection short films (over 2 hours in total) shot on RED Epic. Now that I’ve done it the above way I’d love to hear from more experienced users on how they work?

Does anyone one render out of Resolve in XYZ colour? I used RGB out of Resolve so I could look for issues before using OpenDCP, but is that waste of time???

Also I’ve been told to look at DCP Builder.

I really want a DCP XYZ software display/playback program, even at one frame second!!

Anyway I hope this helps?

Cheers,
Robert

[Robert Pitman]

Sorry typed too quickly – meant to say:

The only thing you need to check, does REDcineX (Pro or normal) see the shot as one continuous shot with the HDRx A and X track?

Cheers,
Robert

[Robert Pitman]

Hello Dave,

Does the R3D look like the attached image?

EPIC R3Ds are 4 GB split.

The only thing you need to check, does REDcineX (Pro or normal) see the shot as one continues shot with the HDRx A and X track?

Cheers,
Robert