[Roman Hankewycz]

I’m not using resolve 8 but if you’re positioned on an ungraded clip (the clip you want to apply the grade to) and then “center-click” on a shot from which you want to copy a grade the grade gets copied. This also works with center-clicking on stills in the gallery.

roman hankewycz
harbor film company // colorist

[Roman Hankewycz]

Thanks for the input.
My files do have reel names, but for the record you CAN media manage clips with no reel names. In my case I’m only using Media Manager to create new, trimmed down media files using the “copy” command. Reconnecting clips with no reel names may be an issue but Media Manager will work.

roman hankewycz
harbor film company // colorist

[Roman Hankewycz]

I’d like to document my workaround workflow so others can review it.

1. Take the sequence to be Media Managed and use Media Manager to “create offline” in a new FCP project.

2. Link this new sequence to the original ProRes 4444 media. Once this is done you can look in the Master Clips bin and sort the Alexa footage from any other footage that may have been in the sequence.

3. Select the Alexa master clips and “batch export” them, making sure that the files go to a new directory.

4. Once the new files are ready, select the Alexa clips in the browser and make it “offline.” Now connect those same clips to the new media created.

Now your sequence is linked to new ProRes 4444 files which will work well with Media Manager.

roman hankewycz
harbor film company // colorist

[Roman Hankewycz]

Additionally,
If you take the “bad” file created by doing a media manage on an “Alexa” clip and add an .mov extension to it, then you can import that file into FCP. However, the new file’s timecode is wrong, it seems to take the original file’s starting timecode as its starting timecode. Meaning even if you media managed the middle of the clip, the resulting file will have the same starting timecode as the file it originally came from.
Weird.

roman hankewycz
harbor film company // colorist

[Roman Hankewycz]

I don’t see what the problem could be. If your footage is 59.94, and your sequence is 59.94 and you send an EDL to Resolve it should come through. Same thing with 23.98 footage in a 23.98 timeline.
However, I’m guessing that your talking about 59.94 footage in a 23.98 sequence which is definitely a problem. As of now, Resolve doesn’t work with mixed frame rates (frame size is not a problem but frame rate is).
Before you go to Resolve you have to make sure that the clips in your timeline match your sequence in frame rate. That unfortunately means removing pull down, or transcoding source media; sometimes manually. If you don’t do this, Resolve will link to the wrong part of the media, at least that’s my experience.

roman hankewycz
harbor film company // colorist

[Roman Hankewycz]

Now what would really be great is if you could map specific controls to gestures instead of just hotkeys. Imagine if the rotate gesture rotates a window or pinching controlled a window’s size.

roman hankewycz
harbor film company // colorist

[Roman Hankewycz]

What are the issues you’re having?
The basic workflow is:
(1) export EDL from FCP.
(2) load the footage used in the piece into the media pool in Resolve.
(3) import the EDL in Resolve
(4) clear up any conflicts with the conformed session in Resolve.

Give some info on your project like what are the specs for your offline sequence, what format are you finishing to, etc.

roman hankewycz
harbor film company // colorist

[Roman Hankewycz]

Or, you may choose to convert all media to 23.98 in FCP before grading. It would depend on how much of your film is non 23.98 footage. If it’s some b-roll here and there, it would definitely be nice to pre-convert and have everything work together in Resolve. However if it’s a large part of the film I would opt for Brendan’s method.
Having varying resolutions isn’t an issue, though. 720 footage can be automatically scaled up if the settings are correct in Resolve.

roman hankewycz
harbor film company // colorist

[Roman Hankewycz]

That makes sense. But do the file names or the reel names of the vfx shots need to match? Reel names is no problem but file name means that you’d have to rename the files which can cause confusion down the line (v01, v02 and v03 would have their names changed to v01).
I guess at this point there’s no super clean and easy method.

Does anyone know how to successfully use “clip replacement?” The documentation is a little sparse on explanations. It seems like you can replace parts of a source media file with a new (touched up) segment. It’s an interesting idea but I haven’t spent much time figuring it out. Maybe I will today.

Thanks for the help guys.

roman hankewycz
harbor film company // colorist

[Roman Hankewycz]

Good suggestion. Would this work with QT files too or just DPX sequences. Also, this way, the names of all replacement vfx files has to be the same, right? You can’t do v01, v02, etc.

roman hankewycz
harbor film company // colorist