Latest post Thu, Sep 22 2022 9:15 PM by HoaSullivan. 4 replies.
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  • Mon, Sep 19 2022 10:08 PM

    Resolve - Avid worklow with different frame rate

    Hi guys,

    Since I'm in the learning path to become an AE in the future, I really want to know some insights from people working in the industry. More specifically about Resolve - Avid workflow that deals with footage with various frame rates.

    Let’s say the scope of the project first: a low budget short film.

    The project needs to be delivered at 23.976fps. Some footage is shot in mixed frame rates such as 24fps, 29 fps, and 50 fps.

    We want to create dailies in Resolve that match the source file frame rates, not the project frame rates. Then bring them into Avid to edit and come back to Resolve for color grading.

    The desired goal is: Keep the timecode embedded in the source files since there are other artists that will get involved in the project down the line. Even though I’m aware of the drawback of this option is that the editor needs to know how to edit with non-matching frame rate proxies, feel free to add on more insight.

    My question is: What is the workflow that most professionals usually choose to achieve the ultimate goal in this specific case? and how to tackle the issues caused from the option you’ve chose?.

    Thank you in advance. Excuse me if my question is too dumb.

  • Wed, Sep 21 2022 11:56 AM In reply to

    Re: Resolve - Avid worklow with different frame rate


    First off, no such thing as a dumb question here. 

    Is there a particular reason why you are ingesting rushes via resolve? You can still ingest via Avid and send an AAF to resolve at the end of the project to grade. It just seems to me that ingesting with resolve at the beginning is more complex... you have to faff about getting those offline files from resolve into Avid... Unless of course Avid doesn't support the files you are trying to ingest and resolve does then that would make sense.

    The standard workflow I'm used to would be to ingest in avid > offline edit > picturelock > AAF to sound and colour > then AAF back from Resolve to Avid for the online edit. 

    Framerate conversions don't look very good. So productions will always try to shoot using the same framerate (unless they rae looking for slow motion media or other creative effect). It's rare to have one camera card in 24fps and then another camera card in 29.97 for example. You might however get the odd archive shot that is in the wrong framerate. 

    Re: framerates. In this exaple I have a masterclip at 23.97 and my project is 25FPS. You have three options. One would be to leave the clip alone and it will skip or jump frames (depending on the fps), Another would be to speed the 23.97 clip at 25FPS clip by interpreting it at 25FPS, and another would be to do a fluid morph/alchemist conversion to work out the next frames and convert it to the project fps. This type of conversion would be the best looking option if you want your wrong framerate clip to play at realtime in the project fps.

    if you right click on a masterclip in resolve and hit clip attributes, you can set the 23.97 clip to play at your project framerate (lets say 25fps). That's called 'interpreting' a framerate.

    If I had a card that was 23.98 fps and the rest of my cards where 25fps, I would do an alchemist or a fluidmorph conversion to an Avid timeline, export that timeline at an online codec quality, even DNxUncompressed if I had to, I would then assume that new export my master shot and create offline proxies from those. 

    An Alchemist or fluid morph conversion looks better than dropping or skippng frames. It works by working out the next frame based on the frame before.

    Some framerates are easy to convert, e.g. 24FPS to 25FPS, you just play the 24FPS video one frame faster by interpreting it at 50. Or a 50FPS to 25FPS slow mo shot... I would leave the masterclip alone. 50fps is a multiple of 25fps so there shouldn't be any frames dropped or skipped. You can just slow the 50FPS down to 25FPs and it will play slower than realtime without it looking bad or wrong.

    Always try to avoid converting framerates if you can.

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  • Wed, Sep 21 2022 12:31 PM In reply to

    Re: Resolve - Avid worklow with different frame rate

    Yes it makes sense to retain the framerate of the sources. 

    Avid will happily offline edit with a mixed bag of framerate clips. 

    At the conform/grade you will need to convert to the final delivery frame rate.

    That's the key stage in ensuring the best conversion method is used. 

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  • Thu, Sep 22 2022 9:15 PM In reply to

    Re: Resolve - Avid worklow with different frame rate

    Hi Philip and Pat,

    Really appreciate your replies!

    After submitting my question, I did some test in Davinci and yeah, I figured out that my initial plan wasn’t effective, so I went for Avid for the simplicity as you suggested.

    I don’t have much experience in the real world of filmmaking yet and am building my technical skill, your replies are super helpful!

    Thanks again and have a great day!


  • Thu, Sep 22 2022 10:56 PM In reply to

    Re: Resolve - Avid worklow with different frame rate

    I would handle the input into Resolve in your case especially as you are going to grade in Resolve.

    Open a Resolve project at your delivery frame rate. Input the media.  Make sure you have optical flow setup for retiming.

    Create a new bin for each different footage frame rate. Create a new timeline for each different frame rate.

    String out each different framerate footage into the correct timeline. I would add a small burnt in TC to each timeline.

    Deliver from each timeline using the Avid AAF template and set directory to deliver to the current Media folder on the editors Avid machine. I would include the Framerate in the deliver name.

    Open MC and you will see Avid create new database files for your Avid storage. In MC open bins for each framerate. Drag each Framerates AAF into the appropriate frame rate bin.

    The bin will populate with all of that timelines media.

    For me no faffing about! Just simple effective media management.

    As Resolve created the proxy media there is minimal chance of the MC online AAF media having errors when it AAF's back to Resolve. Resolve then works linked to the original full resolutiion footage.

    I use and have used this media management for all my MC projects in the last 5 years. Only one of those had mixed framerates and that was only 50P and 25P. I would suggest doing a test project with minimal shots and letting the editor experiment with this project so you have real experience before the actual project.

    IMO Worth watching for how to work frame rates in Resolve.

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