In the past few weeks I've been receiving more interest in Resolve from my client base. I just worked on a project that had jumped on an in house Resolve Avid workflow without fully understanding how to set it up properly. I was brought in to deal with the Avid side of the online and offer workflow suggestions and there were two Resolve colorists sorting out issues on the Resolve side. The general consensus seemed to be that round tripping is fraught with gotchas even on this relatively effect free show. Various resizes would sometimes only partially conform with the AAF to Resolve and forget about keyframed effects used to add a hand held feel to shots. Now I know there are people on these lists who have worked through the bugs and found ways to strip off problematic effects to make the round tripping work with little to no translation problems. The prepping of the sequence before aaf''ing to Resolve seems very similar to workflows involving
FCP7 and Color. The conclusion we came to was it would be safer and way more efficient to treat the Resolve workflow like a tape to tape conventional workflow only using files and an EDL/AAF. I know people on this list who have also come to this conclusion on some projects. On the project I was brought into a major reason for the Resolve was to access the R3D files from Red Epic so they could perform blow ups in the neighborhood of 200% in Resolve and not be limited to a 1920x1080 source file. While in theory this makes sense in practice they found they still had to add sharpening in Resolve for these extreme blow ups. Also we found for more moderate blow ups up to 40ish percent a DNX 175X file as a source coming from Resolve looked okay with the resize being applied in Avid. All this leaves me with the opinion I already had which is to intergrate Avid onlines to Resolve for color correction it's most practical to create a final QT or
video mixdown to send to Resolve and then have Resolve send back a completed file to be output from Resolve and brought back into Avid for titling and final outputs to tape. It is my understanding the "Power Grading", I think that's the term, where you output directly to tape from Resolve is problematic on the basic $999.00 Resolve even with extra GPU power, hence the need to bring the final file from Resolve back into Avid. I would like to know what others think about these conclusions and what others are doing.
Another concern I have is I have clients that are suddenly wanting to throw Resolve at shows we've been delivering straight from Symphony for years. I know Resolve is a more powerful tool for color correction than Symphony is but for the standard Reality/Documentary fare I deal with there is little need for advanced secondary color correction and use of power windows. Nor is there time in the budget to start going these extra miles for something that isn't all that noticeable. I realize I probably have a bias after years of Symphony color correction and doing everything I can to take full advantage of the relational color correction speed bump. I feel that the non relational color correction of Symphony offsets a fair amount of the speed picked up with a Davinci and it's full tilt panels when it comes to overall time for color correction. I still feel a seasoned Davinci operator can do the color grading on a shot per shot basis faster but I'm
curious with what those with more Davinci chops than myself feel. Also how much does the color correction speed differ with smaller panels like Avid Artist Color or Tangent Wave compared to what can be done with the full tilt Resolve panels. I'm trying to be open minded here but my gut tells me for the factory style Reality onlines I do the Resolve will ultimately lead to more online time and a more complicated work flow especially with all the last minute changes I always see.
John Moore
Barking Trout Productions
Studio City, CA
bigfish@pacbell.net
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