BMCC workflow

I was hoping to get some clarification about workflow, especially when shooting with the raw DNG. I've always understood grading to be a final process or close to a final process in workflows. Shoot, import, edit, grade, export in the most basic description. Now it seems, and forgive me, working with RAW files will be new for me, that they are being taken directly into Resolve and then output to edit with or am I missing something completely? Are we waiting for plugins to deal with the DNGs in say FCP, FCPX or Premiere so that you can edit with the DNGs or make proxy files and then take them to grade with the original DNGs?

I'm not sure of all your needs but if they are not overly demanding initially then this simple workflow may suffice:
1) transfer the CinemaDNG media from the BMCC using Media Express;
2) bring the media into Resolve 9 to do a first (minimal) grade and export as ProRes or ProRes Proxy if you don't need full detail for your edits i.e. no keying; export XML for FCPX;
3) import the XML in FCPX and perform your edits;
4) export XML for Resolve
5) using the XML from FCPX, conform the FCPX edits to your original CinemaDNG media and perform your full grade;
6) export your final format of the product for distribution.
This simple workflow would change if complex SFX are required for example.

1) transfer the CinemaDNG media from the BMCC using Media Express;

This only works if you are capturing live (or maybe playbacks of recorded files?). The recommended method is to pop the SSD out and connect it to your Computer via a SATA interface (or adapter to firewire/USB/Thunderbolt/etc.).

Thanks so much for the replies. I think I represent a good portion of where this camera is aimed. The group that has pressed DSLRs to their limits getting beautiful and creative images and everything we can out of them however, also coming up against and working around their serious limitations. Even in terms of workflow lately being able to skip prores almost completely as FCPX and Premier can edit the h.264 files natively.

I'm sure as the BMCC camera makes its way into everyones hands we will start to see some education in the workflows, introducing a whole new group to the joys of working with RAW footage.

1) transfer the CinemaDNG media from the BMCC using Media Express;

This only works if you are capturing live (or maybe playbacks of recorded files?). The recommended method is to pop the SSD out and connect it to your Computer via a SATA interface (or adapter to firewire/USB/Thunderbolt/etc.).

Am curious about this....am a stills guy but have spent a bunch of time working on RAW images.

My preference is always to do the major changes to exposure, colour etc in RAW....basically anything where you will need to push the image and then leave the minor tweaks for the compressed image.

Is video the reverse ??

Am curious about this....am a stills guy but have spent a bunch of time working on RAW images.

My preference is always to do the major changes to exposure, colour etc in RAW....basically anything where you will need to push the image and then leave the minor tweaks for the compressed image.

Is video the reverse ??

I think the element of processing and grading from the raw files makes it different.
If you want to work with the CinemaDNG files, you want to do minimal grading in Resolve initially and then export as ProRes(HQ), or Proxy if the edits are not demanding for FCPX to perform your edits (hopefully that's what it does best); then export with XML to return to Resolve. Resolve will apply those NLE edits to the CinemaDNG files to do your detailed and exquisite colour grading (hopefully that's what it does best). Finish in Resolve for example and deliver your output in the desired format.

Resolve 9 seems to have strengthened it's editing capabities adding new functionality and I can imagine some projects being done entirely in Resolve. These Afterglow Grades are a simple example.

For those interested--the CinemaDNG importer available on the Adobe Labs website DOES NOT work properly with PrPro CS6. After Effects can read the CinemaDNG files fine, so that can be used to output for editing for those wishing to bypass Resolve.

Here's the workflow I went through recently with the Afterglow DNG's. I'd love to hear anyone's thoughts about improving it because this is my first time!

1. Brought DNG's into Resolve, did a "one light" correction and exported them as ProRes 422 (HQ).

2. Imported the ProRes 422 footage into FCP 7. Edited and then exported an XML of my edit for Resolve.

3. Imported the FCP 7 XML into Resolve and then did a final color pass on the edited footage. Exported the final color corrected footage out again as ProRes 422 (HQ) and also exported an XML.

4. Back in FCP 7: I imported the latest XML from Resolve to get the final color corrected footage, married that up with the final music and then exported a 1080 QT.

It worked for me and looks great. BUT What I'm wondering is if I can skip this last FCP step (#4) and just married the final color corrected footage with my final music/sound mix so I can do my final export from Resolve?

I put the final audio file (an .AIF file) in the same folder as my footage but it's not showing up in the Media section...

Thanks for your thoughts!

I work in Media Composer, and have a subscribed for Adobe CS6.
I had to choose between Avid Symphony and After Effects .. chasing the extra 2bits of colour.

Having read all of the above posts, and everything else I can find .. I think.

I will use Resolve to create a 'first light' proxy for Avid as described above ..

After Effects can read the CinemaDNG files fine, so that can be used to output for editing for those wishing to bypass Resolve.

and go straight to AE for SFX. Then perform final grade in resolve using the RAW footage and image sequences generated in AE.

I am getting a little confused. So pointing oversights and misconceptions to me is welcomed.

Imported the FCP 7 XML into Resolve and then did a final color pass on the edited footage. Exported the final color corrected footage out again as Pro Res 422 (HQ) and also exported an XML.
and this importanthttp://www.coursesonline.com.au to do this we get result

Here's the workflow I went through recently with the Afterglow DNG's. I'd love to hear anyone's thoughts about improving it because this is my first time!

1. Brought DNG's into Resolve, did a "one light" correction and exported them as ProRes 422 (HQ).

2. Imported the ProRes 422 footage into FCP 7. Edited and then exported an XML of my edit for Resolve.

3. Imported the FCP 7 XML into Resolve and then did a final color pass on the edited footage. Exported the final color corrected footage out again as ProRes 422 (HQ) and also exported an XML.

4. Back in FCP 7: I imported the latest XML from Resolve to get the final color corrected footage, married that up with the final music and then exported a 1080 QT.

It worked for me and looks great. BUT What I'm wondering is if I can skip this last FCP step (#4) and just married the final color corrected footage with my final music/sound mix so I can do my final export from Resolve?

I put the final audio file (an .AIF file) in the same folder as my footage but it's not showing up in the Media section...

Thanks for your thoughts!

Would also be interested in finding out if it is possible to do final mastering with audio within Resolve itself. Have had trouble finding the audio options and getting sound to come out of speakers though they are clearly going in (reading the audio levels) from the clips in the media pool (These are video clips WITH audio, not separate audio files)

So I've been playing around with the Afterglow files in Resolve Lite and one of the easy setups in the render settings is Final Cut Pro XML Round Trip. However I see no XML file created when using this setting. A feature yet to be fleshed out?

So I've been playing around with the Afterglow files in Resolve Lite and one of the easy setups in the render settings is Final Cut Pro XML Round Trip. However I see no XML file created when using this setting. A feature yet to be fleshed out?

@fourleggedfeatures -

Yeah, the XML is exported separately, not sure why, because it would be more convenient as an option in the delivery area of Resolve.

BUT to export an XML, all you have to do is go to the FILE menu and at the bottom you'll see "Export AAF, XML...".

Hope that helps!

Thanks I will have a play around with exporting from the file menu.

It makes me think that maybe a more robust round tripping workflow is being worked out between Blackmagic and Apple.