Conforming an EDL/XML in Resolve - Free Assets

[@lukerosspost]

What's your favourite way to conform in Resolve? Comment below!

[@FiascoStudios]

i use edl ...but i used to conform in edit tab...but you are doing it on the page wats the diff between conforming in color page and edit page

[@lukerosspost]

Hey! So the hotkey preference to jump to the middle of a shot is only available in the colour tab at the moment, that's why I conform in the colour tab and jump back to the edit tab to make any changes.

[@FiascoStudios]

@@lukerosspost thank you so much

[@belichterdonborek7593]

Not a favorite way yet. It would be great if there was an option to conform the edl to the pregrading. So when you import an edl every clip has the same nodes and color corrections you already made in the pregrading for the proxys. If the pregrading was done well this would save so much time in the final color grading ! I didbn´t find any option for that yet.

[@filmstockreel]

We use baselight at my work and I've been searching for hours about how to do this exact thing because this is how we do it in baselight. Love this method and truly appreciate you taking the time to mak this. Bless you!

[@lukerosspost]

Haha yes! Once I started doing this on Baselight it just seemed like the quickest, most effective way to sync check. No worries at all mate :-)

[@X86Steve]

Could you do this same Tutorial but mix in Various Source Cameras, and Formats like DPX and EXR. Show how you would tackle clips that you do not know the source Color Space and handle setting those up for proper output?

[@JimRobinson-colors]

It sure is a lot easier and faster ( in my opinion ) to park it in the edit tab and use two up on the source and with the dropdown choose the offline reference. You can then literally scrub along and through or playback through and quickly see differences - especially if there are any speed differences. This wipe and going from first frame to middle, to end frame. Seems to work but a real slow process. And you may miss something part way through the clip if the color had animated keyframes. So not the best approach I would think.

[@lukerosspost]

Hey Jim - I disagree actually. While using the second source monitor in the edit tab to review your offline guide is great for flops/big differences, I think it's a very easy way to miss small scale/transform differences. Reviewing your first, middle and last frame full screen in one monitor allows you to check pixel accuracy with consistency (and speed) once you're familiar with the hotkeys 😊

[@lukerosspost]

Also - checking the middle frame allows you to catch all keyframes that I've come across, in my experience anyway. But it's always good to hear another opinion - I hear quite a lot of people use the "difference" blend mode to conform as well? I don't like this method personally as I've worked on a lot of feature films where the DIT has created proxies with small differences in scaling (incorrect aspect ratios) which throws out this option. I also think it's slower that way 😅 this way can be real speedy!

[@JimRobinson-colors]

@@lukerosspost Yes, the images should be the same images - so not sure why you check color in the first place. When making the offline reference, they really should not be graded. But I guess a combo of both ways might be in order- just in case.

[@jamied6166]

@@JimRobinson-colors I normally compare in the Edit Page now. You can now just drop any clip into the Source viewer when it's in Offline mode. The Timeline viewer has Difference mode under right click.

[@agudal8503]

Nice one, thank you

[@rumahpostpro2880]

Good job! Can i get your keyboard shortcut setting pls? TIA

[@ndolaboy]

Excellent, excellent tutorial. Thank you!

[@MrSpanglerGaming]

So once I make the time like and point it to the media. All of my clips are replaced with the first one I would have cut to. Any ideas?

[@digitalprides4500]

can you pls explain the speed ramping done other edit softwares while confirming in Davinci Resolve 17 which seems to be imperfect always in conforming process in davinci and not 100% perfect ramp set as done in fcp / premier/avid edit. what would be the solution? Thanks in advance.

[@FiascoStudios]

Dude can you please explain about recreating the transitions...cause all the transitions that are available in avid are hard to create in davinci resolve....I want to know whether it's a job of the confomist to create the transitions or the editor will do that for them...sorry for my english

[@lukerosspost]

Hey there - it's a great question and it really depends on your post production workflow. Complicated transitions are normally expected be rebuilt by the colourist assistant/online editor within Resolve, Baselight or another finishing software (like Autodesk Flame). Lots of the time, transitions in editorial are "temp" placeholders, and there's some flexibility to rebuild transitions in our finishing software with slight differences. Always check with your editor/client, but as long as the intent/effect of the transition is the same I think you have a bit of flexibility!

[@maria.is.chilling]

Hi, could you tell me what's it like being a conform assistant, what's a day like ? :) thanks

[@lukerosspost]

Hey Faith - my video on the cinema workflow explains lots of the day to day tasks of a conform assistant 🙂 kzbin.info/www/bejne/rXSWgoWCibJpf6c

[@4080tomalex]

why dont you just watch through the shot?

[@lukerossfilms]

Navigating to the first, middle and last frame is the quickest experience that I've had conforming in Resolve. It does depend a little bit on the type of project that you're working on, but I work on a fair bit of documentary content. Talking head shots (interview shots) are so fast using my method 😁 at the end of the day though, it's definitely personal preference!