« on: December 03, 2013, 11:47:04 PM »
I shot in Marvels Flat cine style....can this go straight into Davinci Resolve 10? I thought I might run it through Davinci....do the color correction/grading and then export out for use by either FCPX or Premier....but not sure if the IPB workflow is that straight forward?
No offense but why would you want to grade before you edit? You're just making more work for yourself. Work out exactly what footage you're going to use and then grade it, don't waste time grading everything first and then assembling it (and then probably having another grading pass at the end once you know what your film looks like). I guess if you have no time constraints and really want to spend time using resolve this might make sense. Otherwise edit>fx work>grade
I would prefer to grade after editing of course....however, the footage I've shot...needs video noise reduction.
I'm buying the NEAT Video de-noiser, and it runs either on FCPX or Premier.
If I do normal roundtripping with Resolve for color grading...it will bring in the edits of course, BUT...the color grading will be done based on the original footage, and not the proxy footage you generate from Resolve -> NLE to edit and then send back final XML to Resolve for grading.....and I've found Resolve won't handle all the edits and effects you put in with FCPX, etc...requiring one to edit, grade and then send back at least on last time to FCPX to add those effects back in.
I've found when doing this last step with XML...the edit that comes back into FCPX has NO SOUND...
So, I was trying to balance in my head...is it easier to just grade all out of camera footage in resolve and then send that to the NLE for editing (I might try Premier this time, trying to learn that tool)....or is it worth the bother of sending roundtrip with Resolve and NLE...and having each time it goes back to NLE to add back in effects and cut and paste sound out, etc...?
I truly wished they'd work and play better with each other, as that I really prefer the controls and all on Resolve for grading much moreso than the ones in FCPX and so far of what I've seen with speedgrade on the adobe side.
I can't seem to find a workflow roundtripping smoothly so far between Resolve and FCPX.
Does it work better with Premier? I might try it and see...I dunno yet.
But I will need that NEAT Video noise step in there somewhere...I shot some stuff on fairly high ISO.
I only used FCPX very briefly and hated it, so cant really comment on its Resolve integration... Looking at this http://forum.blackmagicdesign.com/viewtopic.php?f=3&t=14203 are you using resolve 9 or 10? It seems that 10 may work, or it may be a case of having to change the audio sample rate.
Alternatively it looks like neat video is available as an OFX plugin which means that it should work inside Resolve 10 (Neat 3.5 says it has experimental Resolve 10 support) - that might help out with your workflow?
If you're still having issues, and depending on the complexity of your edit (this wouldn't work if you have a load of layered video) and the speed of your computer, it might be easier just editing everything and adding fx (including your noise reduction) and exporting to prores 422, import to Resolve, use scene detection, grade and export your final piece from there.
It isn't going to be as smooth as FCP 7 + Color was, or like Premiere to Speedgrade is because you're using programs from different companies, but Resolve does (imo) give you more powerful and intuitive tools to work with than either of those alternatives - the nodal system is fantastic for flexibility and for going over work with clients (its very east to show them exactly what each node is doing so they can give you detailed feedback on what works for them).
Editing everything out of camera also depends to a certain extent on what you're shooting - I used to shoot documentary-style stuff where we'd have a far higher rushes to final material ration than you might get from fiction. Often we'd have 25+ times as much raw material as finished film - and had we graded everything out of camera we would have spent about 25x as long grading all the material we didn't end up using.
In fairness a lot of that stuff was just corrected within Media Composer because it was pre-Color and affordable dedicated grading tools - back then Media Composer was about £3.5K and Symphony, which had some better colour specific tools was a lot more. The tools we have for grading now are seriously amazing compared to what we were using 10 years ago... Anyway, hope some of this ramble is vaguely useful.