I have an edit with mixed formats (A7SII mp4 and mxf from a FS7) How to export for Da Vinci?

[Wim Cochet]

I have an edit with mixed formats (A7SII mp4 and mxf from a FS7)  and mixed frame rates which I want to export to Da Vinci.  I tried every setting but without succes.  What is the best workflow?

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[Warren Heaton]

You should be good to go with MXF, but I'd consider transcoding the MP4 files to MXF or Apple ProRes.

Chapter 22 Preparing to Move Your Project to Resolve of the DaVinci Resolve Reference Manual should cover everything you need to know:

http://documents.blackmagicdesign.com/DaVinciResolve/20161108-fd9962/DaVinci_Resolve_12_Reference_Ma...

[Wim Cochet]

Hey guys thank you for your help.

It’s clearly some off the A7SII footage that is causing the problem.

I have the most succes with an XML file.

I’m an switching Avid editor so I have to find my way in the different work methods off Premiere.  Is there a possibility to change only the A7sII footage that I used in my edit?  True project manger f.e.

We are dealing with a whole lot of footage so it would be great to extract only the used footage of the A7SII.

Wim

[R Neil Haugen]

In the project manager you can sort by say frame-rate, selecting the ones that are causing an issue, and at the least set a color for the clips on the timeline so you can find them all quickly.

There are some properties that you can change by selecting a group of files in the Project manager and right-clicking ... not sure that would fix your issues, though.

So ... what is the problem with those clips over in Resolve?

Neil

[Wim Cochet]

De biggest problem is the offline media, and the wrong clips loaded in the project in Resolve.

The Fs7 clips work fine.

[R Neil Haugen]

Ouch.

I've a number of colorist friends/acquaintances, and a membership in the MixingLight.com colorist info website. Patrick Inhofer just went through about a 5-part tutorial of 10-15 minutes per video tut on how to conform a PrPro project XML into Resolve. From a lot of their clients, a project coming into their shop can mean from an hour to a full day that they or an assistant is working the conform process, catching all the issues of frame-rate or size mis-matches/glitches, offline/missing media, all the lovely little bits that you have to clean up before the grading can start. It often includes at least one phone call with the editor to check on things.

Within your "own house" one hopes for an easier process. From what I've done, and from talking with others, this can take some practice. Offline/missing/wrong media btw is one of the bigger bugaboos that PrPro & Resolve can combine to create. It's not unusual for them to go through a project, and find that Resolve has selected a number of "wrong" clips, and they have to then search the media pool to find and re-link the correct ones.

Which Patrick says is why he always wants an exported flat-file of the project from PrPro, so he can lay that on the track above the main project file in Resolve, so that while going through the timeline, they are laid over the top of each other. And then he goes through every clip ... does the image in the playback monitor match precisely, and ... if not ... then that's a clip that needs checking.

Neil

[R Neil Haugen]

One thing missed at times in sending footage to Resolve ... any use of "Scale to frame-size" can cause issues in Resolve, it will see things differently. Using "Set to frame size" for bringing in different frame sizes to a sequence works much better, and any issues can be resolved (pun ... hmmm ) by changing one setting in Resolve then.

The document Warren referenced is pretty good, of course. There's always the first question ... are you exporting out of PrPro "never to return" ... or are you exporting out planning to round-trip back to PrPro for finishing touches? Two very different processes, and I think both covered in that  doc.

Neil