Hi Christopher,
Thanx for your detailed answer.
We finished the project doing your second way. There were many many re timings in the AVID backed in (all shot on 50 or more fps), so it would have been a nightmare to get them back afterwards. For the future I’d be interested how you can access SONY F5 original card data directly in DaVinci.
Here is my workflow I did on this one…maybe it’s worth for somebody else in similar situation:
The finished clip, was rendered out in AVID, uncompressed 10bit 422, then out into an AE project 720p with heavy resizing on most shots and digital dolly moves, since there were not enough CUs, and cleaning up unwanted things in the frame. I output the final from AE again as Uncompressed 4222, then imported into DaVinci, Split it up with EDL, graded the whole thing, then rendered it. Imported the final result to FCPX where I used Neat Video’s brilliant DeNoiser, to work on some of the slow motion shots, since AVID’s Fluid morph retiming often produced ugly digital grain. And from X I did the final output in 720p.
Despite the record companies first announcement that they wanted 720p, they suddenly asked 1080p. Cause we could not do that for all the zoom in shots, I took the whole finished 720p and upscaled it with Red Giants Instant HD. Wow, very nice result. I can really recommend it. Good piece of software.
Et voila, finished is the dish!
Greetings,
Sascha Engel
TIME BANDITZ Productions
http://www.youtube.com/taikang