100% Resolve Edit, Grade, Master Workflow

[moodlover]

Resolve 11 is now an NLE so you can edit within the program:

Why is this not getting more attention? Is it because it's editing is still weak compared to PP? I really only need basics for my shortfilms so this if I'm not mistaken, my workflow could become: RAW > DNG Sequence > Resolve (edit, grade, export!)...or am I completely missing something here?

[Levas]

You're not missing anything, you can do the whole workflow in Resolve.
But most people are used to other NLE's, and don't want to learn something new all over again 

[andresharambour]

That's my case. I've tried doing the whole workflow in resolve, but I'm not as fast and I have to think about every little thing I do. Of course it's just a matter of dedicating time to learn it but seems a waste not to use Premiere since I'm already paying for it monthly.

[reddeercity]

FCPX Can do the Same But Better!
In a professional workflow it simple to slow
For quick turn around client work , for personal project
Where time is not isseu that fine. The other problem is the
Raw debaying is bad! There are work around to use the
Blackmagic raw  debaying it's close , but close only counts with
"Horse shoes & Hand Grenades"
Don't get wrong it's a great Gradeing Tool and it's always good to have
Many tool as a filmmaker .
Every Tool has it place in the ML Raw Video Workflow
This no one tool to do it All .

[moodlover]

@reddeercity: what about it is too slow? and what about it makes the raw debayering bad?

I was gonna export proxies from resolve, then import the proxies back in and edit that, then send the xml out and back into resolve so it colorgrades the dngs. I'm not sure what the best workflow is in 2015 for retaining raw quality.

[reddeercity]

Check out New ProRes 4444XQ , Linear in Color Space up to 16bit with Alpha from there, most if not all NLE/Grading App can use it.
With the ultra low Compression( 1:4.5) 500Mb/s @ 1080p 30p
Good enough for Arri ALEXA , well   
**note I archive my raw files to this Format**
My Workflow:
MLV/Raw-->MLVFS-->A.E. ACR Pre-Grade to Legal Color Space (Flat+Tone Curve) -->ProRes4444XQ @450Mb/s-->FCPX(proxy made on import if needed) Edit/VFX depending on the Project I will Grade in FCPX with Film Convert Pro as the file is still full range or XML to SpeedGrade/Resolve etc....

If I what a total 16bit Raw FCPX project I just import the Cdng , make a compound clip edited then grade with Film Convert Pro Export H264 or whatever you need.
The point all this is  once you made your ProRes files you no longer are restricted to one App .

I'm not Saying Your Workflow is wrong or bad but there is always a different  method for the Same Results , Being Time is Money (At least for me)  so it only makes
sense to be as efficient as possible without sacrifice quality.
If your happy and comfortably with your workflow that's great , If I can save myself  a few hours or a whole day well I guess we know the answer 
I Guess the big thing here is there is a Free version of Resolve and there is a lot of marketing going on.

[theartofweb]

Which one would you suggest?

RAW -> (MlRawViewer) DNGs -> (Lightroom, Color C.) TIFFs -> (Quicktime) ProRes 444 -> DaVinci Resolve (Editing) -> ProRes 422

Or

Raw -> (MlRawViewer) ProRes444 with S-Log Curve -> DaVinci Resolve (Editing + LUT) -> ProRes 422

[reddeercity]

No sure I understand your workflows ?
Not sure what software you have, are planning on using LUT's ?
If not  may be try this:
MLV/Raw  -->MLVFS(on the fly converter)-->Cdng's-->A.E.+ACR flat+"S"ToneCruve-->ProRes4444XQ(include the Alpha) or just ProRes4444-->Edit with any NLE you like
If you don't have A.E. then:
MLV/Raw--MLVFS-->Resolve luts , Edit , grade-->master to ProRes4444 or h264

I think you need to look at MLVFS(Cdng's instead of DNG's) as a convertor in Mac & the New ProRes4444XQ (Will not Clip any channels unlike ProRes4444) , remember any time you convert to different format you are limited to that format, so I would drop the idea of prores 422. Keep it Simple, If you are making tiff's will you could import that in Resolve or any NLE . Try and not to have too many step in your workflow.

[theartofweb]

My softwares are Mlrawviewer and Resolve Lite on win7. I am considering using Print film emulation LUTs such as Kodak 2383 and Fujifilm 3513 (Constant Luminance Clipping).

I was wondering, why shoud I go thru the Cdng's sequence from RAW instead of just getting a ProRes4444 file (with a S-Log tone curve) to edit and grade with Resolve?

Something like: MLV/Raw-->ProRes4444 + S-Log-->Resolve Luts , Edit , Grade-->h264

What's the point in Cdng's or DNG's?

Thanks

[reddeercity]

What's the point in Cdng's or DNG's?

Ok now I know what software you have and your OS
First the only ProRes you can encoded on Windows7 is ffmeg prores444 which is Only 10bit
this not a real ProRes file but a close facsimile of the Original Mac Version which is 12bit(RGB-444) or 16bit (RGB+Alpha4444)
"What the Point of DNG's Or Cdng's" you ask. ( I think you need to understand what you are saying here may be Learn more about Color space Workflow)
Cdng's 16bit & DNG's 14bit with Full Range (Linear 0-255 RGGB) DATA LEVELS has no Compressed Color Space where as the ffmeg ProRes444 is
10bit REC709 color space which is YCrBr 16-235 Video Levels. Your basic HDTV Color Space, Which means Clipping high Lights & Crushing the Lows.(loosing dynamic range)
You are loosing up to 4bit for Cdng & 2bit DNG of information, Gone forever ! If you happy with that then.....
I guess I could go on and on , Search the forum for Workflow for Resolve & Cdng's there a wealth of info on the Topic.

If you Really like Resolve then I would do this:
MLV/RAW-->raw2cdng.exe-->Resolve (Audio should Auto Sync) Edit Cdng native Add BMD Film Color Work Space ( there is some basic Raw adjustments) Luts--> Grade-->export-->h264

Link to Raw2Cdng thread -->http://www.magiclantern.fm/forum/index.php?topic=5618.0

Note:   8-bit Image (16.78 million colors)
         10-bit Image (1.07 billion colors)
         16-bit Image (281.5 trillion colors)

Always Explore different type of workflow, "don't put your egg's in One basket"

[theartofweb]

First the only ProRes you can encoded on Windows7 is ffmeg prores444 which is Only 10bit

I basically transcode raw footage to S-log in an intermediate 4:4:4 video format such as ProRes; I use Mlrawviewer to do this transcoding.

When I play the ProRes footage on VLC Player it says Planar "4:4:4 10 bit YUV". Yet, when I import the ProRes footage into Resolve I get "Apple ProRes 4444 16 Bit Depth" under the metadata tab, why is that?

How about this? https://www.youtube.com/watch?v=_BD2AqF_VnY

[reddeercity]

I saw this before , even tried it out. Authorityfx.com/prores-4444-on-windows-pc uses FFMBC which is a branch of FFmeg
and Still uses  yuv444p10 . https://code.google.com/p/ffmbc/wiki/ProResEncoding
Mlrawviewer the same thing as Authorityfx  but Better, at least you have some input to the color space.
Don't get me wrong, S Curve to prores is a good way of getting the information .  But In a 10bit  stream thou , Think about this :
Since you what to use Blackmagic Resolve why don't you use There Codec then ? "blackmagic-rgb.mov" It a very Good "RGB" and it will be 12bit
I can't tell you Why Resolve think the ffmeg prores is 16bit , I would trust what VLC player is reporting.
You have to experiment with you workflow and see if it produces the results you are expecting , That's the Bottom Lines Really.

[theartofweb]

When I config a new project in Resolve I set "Cinema DNG" under the Camera Raw tab as shown here: http://www.davidvickers.co.uk/2014/01/getting-started-with-resolve-video-1.html

If I only deal with ProRes 444 files do you think I should leave ARRI ALEXA under the Camera Raw tab?

Thanks

[Brawl]

how many bit have DNxHR? 10 bit? thx

[vertigopix]

Yes, 10 bits
http://en.wikipedia.org/wiki/DNxHR_codec

[Brawl]

thx.


MLV is 14bit the export would be at 10bit. Is this bad?
how many bit are the commercial bluray movies? I wish to make all the workflow in davinci to export the file for a bluray, wich codec should I use for film industry?

maybe in film industry they export two versions of the same movie? one at 16 bit for cinema theatre and onther one at 8bit for bluray? thx

[Levas]

As far as I know all delivery formats are still 8 bits nowadays.
Bluray is about 40Mbps H.264 codec output(video part only) if I'm not mistaken 

The bits are all used for post processing, delivery/final format is another thing, all procesing/ fine tuning is already done, 8 bits is enough...

[Brawl]

I made a research those are the specs in bits per color for projection and blu-rays.

DCI specifies 12-bit per color for projection.

Blu-rays can output 8-bits per color.


as far as I know over windows we can not have a 12 bit codec maybe I'm wrong but the best is the DNxHR codec that is only 10 bit. if this info is correct we can not cover the DCI specifies with a PC windows?

[Brawl]

for 100% edit raw video is nuke studio also ok? thx