Kat Caverly

Fascinating, and relevant to this discussion: XML issues with Resolve

I would love to try to sort out the problems to figure out how to avoid them in future projects.

I am wondering if converting to an EDL would solve some of the compatibility issues? EDL-X

What a nightmare! I would be on the phone with Apple for sure, something just ain't right with that project. If I was the editor all of those problems would make my head spin, and I want (need) to know why??? This is NOT the way Final Cut is suppose to work.

Thank you for sharing the details.

"garbage XML" can you be more specific? Sounds like that project was a nightmare but is that really all due to FCPx. I only work on my own projects, so I don't deal with compatibility issues I cannot solve myself. I convert fcpxml to Adobe compatible files with XtoCC (Audition) and there is an XtoPro tool for ProTools.

I guess I thought that conforming could to be done in Resolve?? I love working in FCPx + Resolve + Audition. And I don't see any problem with fcpxml files.

2 minutes ago, dermot.shane said:

appearing in Resolve with -99.00.00.00 timecode

appearing in Resolve with 00.00.00.00 timecode

appearing in Resolve with wrong media

appearing in Resolve with black

correct but showing what i know are r3d files as 1920x1080 with no access to the raw tab

could be any one of the above seemingly randomly

 

 

curious??? What version of FCPx? version of fcpxml?? I assume the editor was using ProRes files instead of the raw files. So many questions, but I do believe there are answers!

I have no experience with multicam clips yet, but this problem caught my imagination.

This may help: https://blog.frame.io/2017/10/04/turbo-charge-fcpx-workflow-davinci-resolve/

It seems as though Resolve handles compound clips and multicam clips from the fcpxml, so what is the problem? The conform artist/editor needs to use Resolve 14+ to prepare for the colorist?

"goes into a finishing system for tweaks/fixes" ~ @dermot.shane

so what is your finishing system? Hardware, software? a curious Kat wants to know :)

I found this by Noam Kroll: The Unique Finishing Workflow I Used To Grade, Mix, & Master My Feature Film

@dermot.shane I'm curious what is your workflow for finishing?

@dermot.shane I have thought about your issues all weekend. I doubt that Media Composer would "get it right in the first place" since Final Cut doesn't inherently get in wrong.

With some of these preditors maybe the best workflow for you is for them to render out a ProRes 422HQ video only file and then you can use scene detect if the fcpxml truly is a "trainwreck".

I found that FCP generators don't translate, nor titles, but then I replace these in Resolve or do a roundtrip back to FCP after grading.

I would suggest:

Simplify and Organize the timeline: flatten video to primary storyline (this became easier in v 10.4), break apart compound clips. And they have to decide how to handle FX filters (again they can handle it in a roundtrip back to FCP) the export XML as well as a reference movie.

Maybe suggest they get a free copy of Resolve so that they can see for themselves the issues, especially if they really don't have the budget/experience. It is easier if the editor is also a colorist and vice versa. I know how to fix things both in Resolve as well as FCP, but I really only use FCP for editing, and not effects, and I am trying to do finishing in Resolve 15+ now.

Just now, Kat Caverly said:

i would love to have a cheat sheet i could hand off to a FCX preditor, save them the expense of getitng their trainwreck sorted, and i can focus on getting their film to shine like a diamond

I will work on this!

1 hour ago, dermot.shane said:

a few issue wit h Pp and MC is to be expected, nothing major, all the shots show up in the correct place

so nothing near the level of nuttyness that appears from FCX typicaly

i'm thinking it's mainly due to the FCX crowd...  the folks i deal with on MC projects are usualy union assists, and are super well orgnised top to tail

the folks i deal with on Pp projects are usualy pretty good, not up to IATSE standards, but clean timelines appear

the timelines i have seen from FCX are layers of overlapping media, no order for priority, something that is wanted to be seen is on v3, and something useless and not needed is covering it on v17, on and on....

thinking it more about the lack of training, only folks with next to zero money + next to zero experience seem to be cutting in FCX, and then their film gets some legs and they have to finish it to a reasonable standard, meaning outside FCX, usualy preditor's not editors

the other issue is i have a long list of Pp and MC trained assists that can sort pretty much anything, and no resources to turn to localy for FCX, it's like the blind leading the blind

a good union assist can clean up a film cut in FCX in a few days, but that makes it more expensive than buying a perm licence of MC and getting it right in the first place

i would love to have a cheat sheet i could hand off to a FCX preditor, save them the expense of getitng their trainwreck sorted, and i can focus on getting their film to shine like a diamond

many thanx for listening, sorry for the bad news right up front

 

 

Thank you so much. Honestly I prefer to deal with the bad news right up front. It helps me troubleshoot and find solutions, maybe, with any luck, I can avoid the problems in the first place.

Nothing excuses a lack of organization in a production pipeline. I came from an animation background and before that commercial photography (film days) so I approach workflow with a commitment to what serves the creative process.

My husband is an IATSE crew member (art department) and we have friends who are editors, DIT on union productions for me to ask questions and get insights into finding a way for professionals like yourself to help Final Cut editors solve these problems. These are not the colorist's problems to solve, though I hear the frustrations.

If it is just a no budget/inexperience issue I imagine you'll see the problems come up with Resolve editors too. There are some amazing teachers, a few even for Final Cut, but I must admit it is possible to edit a project in FCPx with no training at all in the technical aspects of the application nor training in editing. But oh boy, does the training open up a whole world of creative possibility and what I know about no-budget productions is sometimes you can't help them.

As an editor who is also the colorist (and all post-production) on our projects I know of some things that don't translate to Resolve in the fcpxml, but aren't there also problems with conforms from Avid and Premiere Pro?

I will gather some checklists for my workflows. Maybe these will spark some answers to your conform issues. Maybe the Final Cut editors are applying effects? I did run up against some issues but since I am also the editor these were solved in the round-trip back to Final Cut.

I am trying to do all of my finishing in Resolve now. I do all sound design in Adobe Audition since Fairlight hasn't worked out for me yet and I gave up on ProTools before I started to do sound editing and design. I only use PT as a dedicated system on a vocal booth.

But sorry for getting off-topic. You are a professional colorist and have huge problems with Final Cut XML conforms. I would like to know more about your issues.

10 hours ago, dermot.shane said:

i see the vast majority of FCX conforms being total trainwrecks, to the point that i ask for the project be sent to an experienced assit to sort / conform and deliver me a DRP, so i don't have to get near it with a 1000 foot pole

to that end, any cheat sheets / check lists for an editor without experience handing over a project for gradeing would be vastly appreacated

WOW! Thank YOU!

WOW! Lowepost is true to their word. I post wondering why there is no FCP forum and within hours there IS a FCP forum.

I started out with Final Cut Pro v1 and Premier Pro. For whatever reason these programs never clicked with the way I think about story telling. I came from a still photography and animation background, and kept going back to Final Cut up to version 7 for live action shorts. But was never really into it. Tried Premiere Pro again. Still not clicking.

Then came FCP 10 which I started my training in 2012 and I was truly excited. It was very different and it clicked! I made my first short with it 2013-1015, but it wasn't until 2018 that I knew there was nothing better for me for editing. I started to my Premiere Pro training in 2018 while working on a very complicated projected, but quickly went back to FCP 10.3. When Resolve 15 was released I spent two months using nothing but Resolve 15 for a whole production (I've used Resolve for color grading since 2014) and at the end of it I went back to FCP 10.4.4 for editing projects. Why? It is just more fun. I just works with the way I think about organizing and my production pipeline. I think it is the best NLE ever, but then again I never bothered much with Media Composer.

I don't much like track based editing styles compared to the magnetic timeline. I hope to connect with other FCPx editors here. What do YOU think?

At the risk of being cheeky, I wonder why there is no forum for FCP editors? I came for the Fusion training (really impressed), visit the Resolve forum daily too. I am a subscriber.

I had been looking for Fusion tutorials since Resolve 15 was released, but only today did I discover Lowepost.

I am having a ball doing the tutorials. Kevin McAuliff's Fundamentals training makes Fusion look like a lot of fun! Thanks Kevin.