Last October I wrote about the roundtrip workflow surrounding Final Cut Pro X and Resolve, particularly as it relates to working with RED camera files. This month I’ve been color grading a small, indie feature film shot with RED One cameras at 4K resolution. The timeline is 1080p. During the course of grading the film in DaVinci Resolve 11, I’ve encountered a number of issues in the roundtrip process. Here are some workflow steps that I’ve found to be successful.
Step 1 – For the edit, transcode the RED files into 1080p Apple ProRes Proxy QuickTime movies baking in camera color metadata and added burn-in data for clip name and timecode. Use either REDCINE-X Pro or DaVinci Resolve for the transcode.
Step 2 – Import the proxies and double-system audio (if used) into FCP X and sync within the application or use Sync-N-Link X. Ideally all cameras should record reference audio and timecode should match between the cameras and the sound recorder. Slates should also be used as a fall-back measure.
Step 3 – Edit in FCP X until you lock the cut. Prepare a duplicate sequence (Project) for grading. In that sequence, strip off (detach and remove) all audio. As an option, you can create a mix-down track for reference and attach it as a connected clip. Flatten the timeline down to the Primary Storyline where ever possible, so that Resolve only sees this as one track of video. Compound clips should be broken apart, effects should be removed, and titles removed. Audition clips should be finalized, but multicam clips are OK. Remove effects filters. Export an FCPXML (version 1.4 “previous”) list. You should also export a self-contained reference version of the sequence, which can be used to check the conform in Resolve.
Step 4 – Launch Resolve and make sure that the master project settings match that of your FCP X sequence. If it’s supposed to be 1920×1080 at 23.976 (23.98) fps, then make sure that’s set correctly. Resolve defaults to a frame rate of 24.0fps and that won’t work. Locate all of your camera original source media (RED camera files in this example) and add them to your media bin in the Media page. Import the FCPXML (1.4), but disable the setting to automatically load the media files in the import dialogue box. The FCPXML file will load and will relink to the RED files without issue if everything has gone correctly. The timeline may have a few clip conflicts, so look for the little indicator on the clip corner in the Edit window timeline. If there’s a clip conflict, you’ll be presented with several choices. Pick the correct one and that will correct the conflict.
Step 5 – At this point, you should verify that the files have conformed correctly by comparing against a self-contained reference file. Compound clips can still be altered in Resolve by using the Decompose function in the timeline. This will break apart the nested compound clips onto separate video tracks. In general, reframing done in the edit will translate, as will image rotation; however, flips and flops won’t. To flip and flop an image in FCP X requires a negative X or Y scale value (unless you used a filter), which Resolve cannot achieve. When you run across these in Resolve, reset the scale value in the Edit page inspector to normal from that clip. Then in the Color page use the horizontal or vertical flip functions that are part of the resizing controls. Once this is all straight, you can grade.
Step 6 option A – When grading is done, shift to the Deliver page. If your project is largely cuts-and-dissolves and you don’t anticipate further trimming or slipping of edit points in your NLE, then I would recommend exporting the timeline as a self-contained master file. You should do a complete quality check the exported media file to make sure there were no hiccups in the render. This file can then be brought back into any NLE and combined with the final mixed track to create the actual show master. In this case, there is no roundtrip procedure needed to get back into the NLE.
Step 6 option B – If you anticipate additional editing of the graded files – or you used transitions or other effects that are unique to your NLE – then you’ll need to use the roundtrip “return” solution. In the Deliver page, select the Final Cut Pro easy set-up roundtrip. This will render each clip as an individual file at the source or timeline resolution with a user-selected handle length added to the head and tail of each clip. Resolve will also write a corresponding FCPXML file (version 1.4). This file will retain the original transitions. For example, if you used FCP X’s light noise transition, it will show up as a dissolve in Resolve’s timeline. When you go back to FCP X, it will retain the proper transition information in the list, so you’ll get back the light noise transition effect.
Resolve generates this list with the assumption that the media files were rendered at source resolution and not timeline resolution. Therefore, even if your clips are now 1920×1080, the FCPXML represents these as 4K. When you import this new FCPXML back into FCP X, a spatial conform will be applied to “fit” the files into the 1920×1080 raster space of the timeline. Change this to “none” and the 1080 media files will be blown up to 4K. You can choose to simply live with this, leave it to “fit”, and render the files again on FCP X’s output – or follow the next step for a workaround.
Step 7 – Create a new Resolve project, making sure the frame rate and timeline format are correct, such as 1920×1080 at 23.976fps. Load the new media files that were exported from Resolve into the media pool. Now import the FCPXML that Resolve has generated (uncheck the selection to automatically import media files and uncheck sizing information). The media will now be conformed to the timeline. From the Edit page, export another FCPXML 1.4 for that timeline (no additional rendering is required). This FCPXML will be updated to match the media file info for the new files – namely size, track configuration, and frame rate.
At this stage, you will encounter a second serious flaw in the FCP X/Resolve/FCP X roundtrip process. Resolve 11 does not write a proper FCPXML file and leaves out certain critical asset information. You will encounter this if you move the media and lists between different machines, but not if all of the work is being done on a single workstation. The result will be a timeline that loads into FCP X with black clips (not the red “missing” icon). When you attempt to reconnect the media, FCP X will fail to relink and will issue an “incompatible files” error message. To fix the problem, either the colorist must have FCP X installed on the Resolve system or the editor must have Resolve 11 installed on the FCP X system. This last step is the one remaining workaround.
Step 8 option A – If FCP X is installed on the Resolve machine, import the FCPXML into FCP X and reconnect the media generated by Resolve. Then re-export a new FCPXML from FCP X. This new list and media can be moved to any other system. You can move the FCP X Library successfully, as well.
Step 8 option B – If Resolve is installed on the FCP X machine, then follow Step 7. The new FCPXML that you create there will load into FCP X, since you are on the same system.
That’s the state of things right now. Maybe some of these flaws will be fixed with Resolve 12, but I don’t know at this point. The FCPXML list format involves a bit of voodoo at times and this is one of those cases. The good news is that Resolve is very solid when it comes to relinking, which will save you. Good luck!
©2015 Oliver Peters