For anyone new watching you forgot one step. If doing ACES properly you should not have any color difference whatsoever. When bringing in the Nuke exported clip in Resolve right click it and then go to - ACES Input Transform - Color Space Conversion - ACEScct or ACEScg depending on what was chosen in Nuke export. That should bring it back to where it started in Resolve. Also back in Color Management put sRGB or Rec709 back on in Device Output Transform when bringing everything back in. That way you are viewing it properly through the monitor.
First thing I do in a Resolve update is remove the Cut tab as well. First time I've found a video, showing the full workflow roundtrip (especially with AVID) so good work getting through it all. I'm a Finishing Editor by trade, and you pretty well covered the basics of what happens. I find Amazon, Netflix, Hulu, etc. all have their own specs, so best to check. Couple things that might be worth looking at: When you bring in your AAF, check sizing as well: it will then bring in all the basic repo translations from AVID as well. The original DNX codecs are fixed 16x9, so you will get some shift on the y axis usually if scope raw, etc. but the size and x axis should be good. You can look into using the newer DNXHR codecs that allow you to work with scope rez, etc. in AVID to get more accurate info. translation. Also, when you start getting into Dolby Vision, you'll have to reverse the traditional stack timeline workflow and disable clips as it's like a basic EDL and v1 needs to be populated for analysis, trimming and for IMF deliveries, etc. Like you, I like to stack and keep original plates for VFX, so I just disable them to render out the finals. Great videos so far, and your Fusion ones are helping me get to grips as I also use Flame and now am using Fusion for HDR workflows, so keep on making those. Optical flow with TimeStretcher would be handy, as we all know how awful it is to try and use the Resolve for matching those AVID translated speed ramps that don't quite work. Keep up the good work!
Really appreciate your insights! I'll have to play with DNxHR and see how that works for me. Interesting info about Dolby Vision, I need to look into that. Glad you like the Fusion vids, and yeah, I feel your pain about bringing in speed ramps and such! My worst experience with that was a feature I did over ten years ago where I did an offline in Vegas and conformed and mastered in After Effects. I would routinely slow down the beginning or end of a shot in Vegas to make it longer. When I went to conform, it would show up in AE as two clips, with a black gap between them representing the space that needed to be filled. Then I had to try to time stretch the slow clip just the right amount to fill the gap. It was a nightmare.
To answer your question about the tools on the color page being so drastic…go into color management settings and click “use color space aware grading tools”…that should do the trick! 23:13
Excellent video man thanks so much for it i do have one question tho i thought in hollywood you do the final export in avid not resolve i thought resolve was just for color grading
Hi, thank you so much for this amazing tutorial!! I have just one little question about handle frames. I heard that you should put at least a couple before and after the vfx shots. I tried to add handle frames in Resolve, but it put all handle frames only after the clip (t.ex. 5 second clip + 18 frames, but I want to have 9 frames + 5sec clip + 9 frames). Do have a tip for that or do I need to add them already in Avid?
Hi there, sorry for the late reply! I'll have to look into that. I'm my own editor and vfx artist, so I don't do handles since I know that I'm usually happy with the locked cut
Bro excellent tutorial very helpful...Bro I need to know one thing that if i have like 200 shots for VFX can i send an XML with my shots and is that possible VFX artist also send me back in a same way bcz 1 or 2 shot u can drag and drop but if u have so many shots and speed changes how do i place VFX plate in a proper way of my resolve timeline?
You might be able to use Nuke Studio for something like that since it has a timeline. Otherwise you have to do it yourself or have a VFX editor cut the shots in for you.
@@ChrisTempel I can understand..but thanks for this video. I just started my editing journey in avid recently and I'm glad I found this video. Please keep making more videos on avid if you can. Thank you.
For anyone new watching you forgot one step. If doing ACES properly you should not have any color difference whatsoever. When bringing in the Nuke exported clip in Resolve right click it and then go to - ACES Input Transform - Color Space Conversion - ACEScct or ACEScg depending on what was chosen in Nuke export. That should bring it back to where it started in Resolve. Also back in Color Management put sRGB or Rec709 back on in Device Output Transform when bringing everything back in. That way you are viewing it properly through the monitor.
First thing I do in a Resolve update is remove the Cut tab as well.
First time I've found a video, showing the full workflow roundtrip (especially with AVID) so good work getting through it all.
I'm a Finishing Editor by trade, and you pretty well covered the basics of what happens. I find Amazon, Netflix, Hulu, etc. all have their own specs, so best to check.
Couple things that might be worth looking at:
When you bring in your AAF, check sizing as well: it will then bring in all the basic repo translations from AVID as well. The original DNX codecs are fixed 16x9, so you will get some shift on the y axis usually if scope raw, etc. but the size and x axis should be good.
You can look into using the newer DNXHR codecs that allow you to work with scope rez, etc. in AVID to get more accurate info. translation.
Also, when you start getting into Dolby Vision, you'll have to reverse the traditional stack timeline workflow and disable clips as it's like a basic EDL and v1 needs to be populated for analysis, trimming and for IMF deliveries, etc.
Like you, I like to stack and keep original plates for VFX, so I just disable them to render out the finals.
Great videos so far, and your Fusion ones are helping me get to grips as I also use Flame and now am using Fusion for HDR workflows, so keep on making those. Optical flow with TimeStretcher would be handy, as we all know how awful it is to try and use the Resolve for matching those AVID translated speed ramps that don't quite work.
Keep up the good work!
Really appreciate your insights! I'll have to play with DNxHR and see how that works for me.
Interesting info about Dolby Vision, I need to look into that.
Glad you like the Fusion vids, and yeah, I feel your pain about bringing in speed ramps and such! My worst experience with that was a feature I did over ten years ago where I did an offline in Vegas and conformed and mastered in After Effects.
I would routinely slow down the beginning or end of a shot in Vegas to make it longer. When I went to conform, it would show up in AE as two clips, with a black gap between them representing the space that needed to be filled. Then I had to try to time stretch the slow clip just the right amount to fill the gap. It was a nightmare.
To answer your question about the tools on the color page being so drastic…go into color management settings and click “use color space aware grading tools”…that should do the trick! 23:13
Great stuff Chris, now a DCP tutorial for Resolve, there are free tools to check your DCP files to help.
Thanks Chris, really helpful.
Excellent video man thanks so much for it i do have one question tho i thought in hollywood you do the final export in avid not resolve i thought resolve was just for color grading
Resolve is for grading, but that’s one of the last steps in the process. Avid doesn’t do onlines very well, it’s strictly an editor.
Wooow! Thanks 🇮🇹
thank you very much
Hi, thank you so much for this amazing tutorial!! I have just one little question about handle frames. I heard that you should put at least a couple before and after the vfx shots. I tried to add handle frames in Resolve, but it put all handle frames only after the clip (t.ex. 5 second clip + 18 frames, but I want to have 9 frames + 5sec clip + 9 frames). Do have a tip for that or do I need to add them already in Avid?
Hi there, sorry for the late reply! I'll have to look into that. I'm my own editor and vfx artist, so I don't do handles since I know that I'm usually happy with the locked cut
Bro excellent tutorial very helpful...Bro I need to know one thing that if i have like 200 shots for VFX can i send an XML with my shots and is that possible VFX artist also send me back in a same way bcz 1 or 2 shot u can drag and drop but if u have so many shots and speed changes how do i place VFX plate in a proper way of my resolve timeline?
You might be able to use Nuke Studio for something like that since it has a timeline. Otherwise you have to do it yourself or have a VFX editor cut the shots in for you.
but the question is what type of footage should be used in maya sRGB or rec709 or aces ap1 or ap0 which one ap0 means acescg
can i get a copy of that sweet binder please :D
It took me a long time to make. A lot of questions on forums and a lot of printing of answers
@@ChrisTempel I can understand..but thanks for this video. I just started my editing journey in avid recently and I'm glad I found this video. Please keep making more videos on avid if you can. Thank you.