Conforming an EDL using DPX file sequences

By - - Flame , Smoke

Hi Everyone!!!!

HAPPY NEW YEAR!!!!!!  

I hope that everyone had a good break and is well rested for a productive 2010!

This is my first blog of the year and hopefully many more to come!!!

Let's kick off this blog with a popular user request - File based conforming a timeline using the DPX image file format and the Edit Decision List or EDL.

If you have never heard of DPX before, it is a really great format.  It has its roots in the film world where film rushes were scanned to the DPX image format.  The reason for using this format was because of the amount of data it can hold.  The DPX file can contain 10 bit Log data for the film world as well as metadata information such as tape name, time code and edge code to name a few.  It has made its way into the television production world with the arrival of digital cameras which use this format. 

Even though we have other formats ranging from RED to QUICKTIME to MXF as well as other image sequences, the DPX file stores the image data as uncompressed and still widely used.  Other younger formats such as OPENEXR might probably supersede DPX in the near future but the DPX popularity is still strong hence the strong requests I have received.

This video blog demonstrates the procedure of performing the conform with an EDL and DPX images

The material used in this video blog is courtesy of Sonne in Denmark and Robinsons

This video is best viewed at 1:1 with the full screen setting


The features shown are valid for the current release of Smoke (Mac/Linux) and Flame - 2010 ext 1 SP1

Everything you saw in Smoke is identical in Flame once in the clip library.

Remember the main tip is to ensure your project resolution settings matches the resolution of your media for a painless conform.  Oh yeah... Time code and tape name are also vitally important as usual :)

I have a new blog in the works for source nodes which should be very useful...  You should get that soon but keep watching the blog.

Thanks for the feedback but please keep more suggestions coming as always!!!!!

I hope everyone has a great week and take care where ever you are!!!

Signing off!

Grant

 

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Tags
  • Flame
  • Smoke
  • Tips and Tricks
  • Design Visualization
6 Comments
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| 9 years ago
Will do Grant Thanks! Although honestly the local reseller doesn't really know more that I do :) But thanks again!
| 9 years ago
Hi Jobert, If you go to the import menu and select DPX... choose the fileheader timecode from the options and it says 00:00:00:00... This means that the resolve is not putting the timecode into the hearder of the file. I do believe that it should be able to. That is one of the big points of the DPX file. It can store timecode and tape-name inside the file. You need to ensure that the resolve is outputting the files to your requirements. That means you should not have to jump through so many steps like you are currently trying. As I mentioned previously you can see how many variables are involved here and it is not something that will be instantly solved on the blog... If you still have issues, please log this with your Autodesk reseller who has go experiences in dealing with these issues. This means we will also have an official log report of the issue. Regards Grant
| 9 years ago
Hi Grant I found what's our problem and kinda solve it. Now we are able to retain the original R3d filename when we output it into DPX from Da VInci Resolve. When I followed your steps It still refuses to relink so here's what I did kindly tell me if I did was right or how I can still improve it. 1. Importing the clips and Importing the EDL to that clips doesn't work with me since it can't detect it. So I'll import an EDL and assemble it even though it would show me an Unlink Media. 2. I select the Assemble and do a Recapture. I select a root folder then do a search all. It finds it the DPX files that I need. Then I change the metadata to timecode from editlist so I'll be sure it's relinkable. When I use file header timecode I can import it but it indicates that it's not relinkable. It seems that it only works for me if I use the timecode from editlist option. What would be cons of using this option when I do the assemble will it assemble the edl perfectly? 3. I consolidate, reformat then do a Relink. 4. I'll load the assemble file to check is on the desktop and see if all is linked then I do a match cut since it's always not perfect. On the timeline I would see that the clips would still be the whole shot even if I already consolidate it to just 10 frames. 5. After matching the shots with the offline I'll consolidate again since consolidating in recapture mode didn't work for me and then stonifise the assemble since everything is soft imported so that I'll have only what I need. After that I'll just delete the soft imported clips and continue working. How do you find it? Is there still away to improve it? Thanks again for all the great tutorials your doing!
| 9 years ago
Hi Jobert. What you are describing is very specific to your workflow and there are tons of variables that need explorartion to get down to the main issue of fixing your problem. I am not able to simply give you a quick answer here. Your best solution is to contact your local Autodesk reseller and log a support call so that it can be properly investigated. Hopefully this is point you in the right direction. Regards Grant
| 9 years ago
Another nice tutorial Grant! But unfortunately I wasn't able to make it work with me because the file names of the clips that is listed in my EDL is different from the clips that I get from the Da VInci resolve. It seems that when we grade clips from Red into the Da Vinci Resolve is that the colour grading machine changes the filename of the clips into a 8 character numeric filename and even if you import using file header and tape from directory it still doesn't recognize it. I can use recapture to find all clips or just simply import all the clips in a reel like what you said but it wouldn't assemble no matter what I do. Is there any fix to this?
| 9 years ago
Nice work Grant. Barry
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