Edit Page and Conforming

DaVinci Resolve Edit Page and Conforming

XML Import

Most frequent practice I find myself using when I’m trying to online a project from FCP or Adobe Premiere. This can be done by right clicking in the Timelines window, and from Import select AAF/EDL/XML. There are a various file types you can select, in this case we are using a FCP7 file that is .xml, for users that are conforming from a FCPX file, this will be a .fcpxml. After you have selected the desired XML from your work disk a ‘Load XML’ dialog will appear that gives you several options to control the xml import. ‘Automatically Set Project Settings’ will use the same timebase, resolution, audio settings found in your Final Cut Pro sequence. ‘Automatically Import Source Clips into media pool’ will bring all the media from the Final Cut Pro project into your Resolve Media Pool. This workflow is good if you’re working on Pro Res HQ, or 4444 Mastering files. But if you plan on relinking to the full resolution raw media such as RED or ARRI, you will want to deselect this option. It’s also important to select ‘Ignore file extensions when matching’ as this will disregard the .mov extension of transcoded media, and use the meta data filename. ‘Use Sizing Information’ will import all the scaling and transforming data from your Final Cut Pro project. The great thing about this feature is that if you were doing a 25% pushin on the 1080p transcode, then Resolve will do that same pushin on the 5K resolution footage so when you export to a 1080p file, there will be little to no degradation.

Now that our XML has imported, and relinked to original Raw media, we need to verify the edit hasn’t changed by using an offline edit. During the Media lesson we looked at importing an Offline Reference Clip. We will match this up to the current XML, by right clicking the timeline and select the clip from the ‘Link Offline Reference Clip’ menu. After selecting the ‘Offline Checkerboard’ button under the Source Viewer, your Offline clip should match that of your Timeline viewer. If not make sure you reference clip has the same timecode start as the timeline. Now we can scrub through the timeline, and make sure that all of our clips match the Offline reference. There may be some clips that didn’t properly match up, this is because there was a conflict with the filename or timecodes which is the hierarchy that Resolve follows when matching media. To fix this, we need to right click that particular clip and select ‘Force Conform Enabled’ and make sure this is turned off. Now there will be an exclamation mark on that clip beside the filename that you need to select. From the dialog this pops up select the clip with the thumbnail that matches your offline reference. If you unable to find the proper clip from the list, you can search for that clip in the Media Pool window for the correct clip, and right click the timeline clip that is having an issue, and select ‘Force Conform with Selected Media Pool Clip’.

EDL

the most common format across the board, as this has the longest reign with most professional post-production applications. But in order to make sure different applications communicate effectively it’s important for the use of reel number/names throughout. There are multiple ways to import EDLs with Resolve based on the workflow and assets supplied for a conform. To conform an EDL first make sure all the required assets are in your media pool. Or to import clips into your project just from the EDL, use the Media page and right click the project media folder, and select the option ‘Add Folder and Subfolders Based on EDL into the Media Pool’. Follow the same steps as importing an XML but make sure to select and .EDL file.

AAF

To import a project from Avid, you will need an Avid AAF file. On the edit page, you can right click the Timelines window, and click Import ‘AAF/EDL/XML’ and select the desired AAF. In this case ‘Jag_edit.aaf’ From the load AAF Dialog, select your desired options, if you want the media to link the the MXF files you can ‘Automatically import source clips into Media Pool’. There is also the option to have the Camera Media loaded into your media pool and select ‘Link to Source Camera Files’ from the Dialog. Again this can be matched with an Offline Reference Clip.

Extract Audio

With any of these options if you want to have a new audio file for the timeline, import this into your media pool or Extract the audio from a movie file. Right click that media and select ‘Link as Chase Audio’. Now select your timeline and right click opening the ‘Chase Audio Settings’. Here the selected audio should be selected, and you can modify the two beep if it’s out of sync.

Scene Cut Detection

The last way of trying to import your project, and probably the most advanced is with the Scene Cut Detection. This feature interprets video media, and finds all of the cut points based on large changes between frames, which can come in handy if you weren’t supplied and XML, or EDL. Select the desired clip in the Library browser of the Media page. Right click this clip, and select ‘Scene Cut Detection’ from the dropdown. This will open the ‘Scene Cut’ window, where you select ‘Start’, and Resolve will begin to interpret the clip as shown by the progress percentage. After the progress reaches 100%, you can use the ‘Cut list’ to view the first clip and use the three viewers to determine whether the scene detection was a success, or if you have to do some modifications. If the left viewer is one clip, and the middle and right viewer are the same clip, you have succeeded. If they are all the same… There is something out of whack, and this didn’t find the right cut point. You can drag the magenta confidence bar down or up to adjust the sensitivity of the cut detection, which should make your entire sequence more accurate to the original cutting copy. If you need to manually remove or add a cut, this can be done with the plus and minus buttons at the bottom of the window. To navigate through the clips you can use the up and down arrows, or previous with the ‘p’ key, and next with the ‘n’ key. After you are satisfied that all the appropriate cuts have been made you can use the options dialog to Save the Scene cut, or save as an ‘EDL’. Or add to your media pool with the ‘Add Cuts to Media Pool’. Now you go to the edit page, and in the timeline window, right click and select ‘Create New Timeline’. Make sure the ‘Empty Timeline’ checkbox is not checked, and after selecting okay, a new timeline will be created that sorts all the cut clips based on their timecode into an edit. If at any point you notice that a proper cut wasn’t made, then just use the edit page. You can use the blade and splice up clips to fix cuts that weren’t detected. Scopes has a wide array of options.

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