Resolve->FCP XML->AE+Bridge->PSD->Premiere->DNxHD->AME

Started by dmk, July 22, 2014, 12:29:20 PM

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dmk

This is the workflow I used for the film @ http://www.magiclantern.fm/forum/index.php?topic=12720.0

Resolve (offline edit) -> FCP XML & Then -> After Effects (color grade w/ Film Convert) -> PSD Sequences -> Premiere (online "edit", not really much- just fade ins/outs) -> DNxHD -> Adobe Media Encoder (H264).

Why use Resolve for an offline editor and then after effects for color grade?! And if I'm already doing that, why not just do the online edit in Resolve as well?? Glad you asked :)

1) Resolve as an offline editor.

The real question is why *not* just use premiere. The answer is that Premiere sucks at playing DNG natively. By using Resolve as the offline editor, I could bring in the DNGs and edit natively with perfect playback, and even play with rough sample grades, without affecting the original DNGs or creating any intermediates.

2) FCP XML
I tried exporting to regular EDL and others and it was hard to read. FCP XML is easy to read and I can reference the clips by their actual file number. I.e. the <in><out> tags. That way in After Effects, I can match those numbers and export exactly what I need for online edit only

3) After effects as coloring

MLV did not look nice in Resolve natively using BMD Film settings. I know I could bump up the exposure in raw interpretation, but that just feels wrong, and didn't quite look as good as ACR

Furthermore, in after effects I use ACR/Bridge just to get white balance and exposure (so no flicker)- as well as denoise and sharpen. Since this is all happening on the native DNG, I can undestructively go back and tweak, using the benefits of ACR and raw

On top of this, there is then the entire arsenal of after effects to tweak the look/color. I used FilmConvert and Color Finesse.

I'm also very used to / fond of Color Finesse. I tend to get better results more easily with that than any other tool, especially when the intended look is natural (can then use other effects in after effects to get unnatural looks anyway... such as magic bullet or whatever)

4) PSD Sequences

I've just had battle scars from doing anything else in the past. I know that when I export a PSD, it is what it is, and don't need to worry about if any program is going to chop the bit depth or shift the gamma or whatever. PSD sequences work perfectly in Adobe products...

5) Premiere

As I said, PSD work perfectly in *Adobe* products

6) DNxHD

This is the one part I'm not happy about. Adobe won't export a DNxHD 444 at 48/64 bit depth without it getting all messed up. Google the problem, and you'll see the consensus is that DNxHD ignores this setting and simply uses it's own determination to do 10 bit instead of AME's settings. I've tried it, and indeed bringing the exported DNxHD back into After Effects for comparing shows it as "Trillions of Colors" and no visible difference really. So, reluctantly I'm trusting this and anyway it looks fantastic

7) Premiere crashed when exporting from timeline, so I brought the DNxHD into AME. No big deal. Rendered at High Profile 5.1 maximum quality and depth