[Tim Schultz]

Thanks Juan. Good info.

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Mac Pro 3,1 2.8ghz 8-Core, Nvidia GTX 285 (S1), BMD HD Extreme 3D (S3)

[Tim Schultz]

But that’s just going to get me back to the unprocessed files. If my pre-grage was acceptable for even 20% of the final product I’d want to retain that information. I’m wondering how that is saved? XML for FCP and AAF for Avid? Do those NLEs have the ability to pass on that kind of non-destructive information back to Resolve if I do this force link you speak of?

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Mac Pro 3,1 2.8ghz 8-Core, Nvidia GTX 285 (S1), BMD HD Extreme 3D (S3)

[Tim Schultz]

What I’m most curious about is the true round tripping. So I shoot RAW, I go into Reslove to pre-process dailies because no client wants to watch grayed footage while cutting, I then edit with my producer/director but this isn’t the final “grade” we really want simply processed dailies. So when I finish, how in AVID or FCP do I then take my timeline referring to those processed files that I’ve been cutting with (in DNxHD or ProRes) and tell Resolve to look at my master RAW files with the pre-processed grade information that should be saved some how so that I can do the final color timing quickly and efficiently from my final edited timeline but still retain all of the quality of the original RAW files I’ve kept around for mastering? Cause shooting in DNxHD or ProRes if I’m in a pinch is great but I don’t think that’s what high end pros are going to want to do with this camera, I think the workflow, if it can be done, would be the norm.

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Mac Pro 3,1 2.8ghz 8-Core, Nvidia GTX 285 (S1), BMD HD Extreme 3D (S3)