Issue with higher frame rate clips from F35 and Resolve...

T

TheWakePlace.com

Well-known member
Importing 50p and 60p clips into Premiere (DPX image sequences) and putting together my edit. From there i will export a XML to take to resolve...

Every time i try to import the XML into resolve i get the same issue with clips missing, and it DOES NOT happen with any other frame rate clip, just the 50 and 60p clips.

Anyone with any ideas?



https://vimeo.com/93106760
 
I've had this happen with other sorts of files... pain in the arse. you could try changing your linking to frame count only and ignore timecode, that will help. but if you've made an edit and are not using the whole clip, it will probably grab the wrong portion of the clip.

Basically XML's don't seem to carry across reinterpreted frame rates. It also happens when you reverse a clip and speed ramp things.

The only real solution is to process all your footage through a 'cinema tools' like app and conform it to 24fps permanently before going into premier.

hope this helps.
 
I've had this ball ache too.
The best thing to do is (assuming the 7Q), prior to shooting, set the 7Q project to your desired frame rate , so if your premiere project is gonna be 25p, then set the 7q project setting to 25fps. Your clips will be conformed to the right frame rate before it hits the NLE.
The loss in translation between PP and resolve comes with frame rate differences.

Problem solved. I've now had perfect XML to resolve round trips since.
 
i wasn't working with DPX files, but a solution I've used for 50p files from the F35 is to conform them to 23.98 using DaVinci, prior to the edit. You can changed the interpreted rate, then render. Then do your edit with the rendered version. It can still be linked back to the original 50p file in DaVinci for color grade too.
 
Viddovation said:
i wasn't working with DPX files, but a solution I've used for 50p files from the F35 is to conform them to 23.98 using DaVinci, prior to the edit. You can changed the interpreted rate, then render. Then do your edit with the rendered version. It can still be linked back to the original 50p file in DaVinci for color grade too.
Click to expand...

Could you show the workflow for this?
 
I record SStP files from the F35 with the SR-R1. These are dumped from the cards to hard drives with each card being saved to a separate and incrementing reel folder. Optimally, the Script Supervisor keeps up with this and it's reflected on the slate as well.

Resolve is then used to create offline copies of the files, in a format friendly to the chosen NLE. If it's a short project, you may be processing all of the footage in a single batch. If it's a longer project, this can be done as dailies.

In Resolve you'll want to set reel numbers to be assigned by the folder name, since the folder names will reflect the reel numbers.

Once the footage has been imported to Resolve, any clips that were recorded in 50p for slow-motion can be conformed to 23.98 for playback. You select these clips, individually or as a batch, and right-clicking should give you a menu option to interpret frame rate for playback. Select the desired playback speed (presumably 23.98p). If the clip is also showing in a video window with duration listed, you'll see the total duration jump higher when you do this.

You'll also want to make a separate timeline for each reel. Under some circumstances this isn't absolutely required, but if you do it as standard practice you'll avoid possible complications. If your recorder resets timecode or file names with each reel, it's effectively required, particularly if you're going to use Resolve's convenient feature for syncing audio based on timecode.

You will select all the media for the given reel, and import it to the respective timeline.

If you have audio files for the reel, you can have Resolve attach them based on time code at this point in the process. It works best if your audio has the same reels as the video.

If desired, you can apply a LUT to the footage, so the offline edit has more color and contrast. Since you'll be coming back to Resolve, this isn't destructive to the end product.

Then you move to the delivery page. You'll output each timeline (each timeline is just one reel), using settings to render every clip separately, with each reel getting it's own folder. The codec you select is really up to you - it's an offline edit codec, so it can be compressed, just keep it friendly to your given NLE. Prores proxy or LT works well for FinalCut.

When the renders finish, you can import to the NLE. You can do your offline edit, then send the XML timeline or EDL back to Resolve. Resolve can relink back to the original source files, and color grade off of the originals, not the proxies.
 
You must log in or register to reply here.
Back
Top