Simplified compositing and VFX workflow
I am about to start a very cool project, lots of pop colours, very stylised, also filled with comps and VFX, image within the image, mirror effect, at first glance, a beautiful yet complex film. So If like me you haven’t yet mastered the new Fusion tab in DaVinci Resolve 15 (yes, I am working on it!), here is another way to keep your VFX workflow super streamlined. Whilst one of the most common ways would be to export an XML from your NLE, work in Resolve, and then render a DPX or TIFF sequence and import that into After Effect, the quickest and most reliable way is actually a lot easier than this. In this case, I will be working with 5K Red footage, so for the Offline Edit 2K ProRes Proxies were generated by the Red Camera at the same time as recording the Red Raw; Once the edit is locked, the Offline editor will conform the 2K Proxies to the 5K Red Raw for the selected VFX shots, and then will create consolidated (25 frame handles) ProRes LT of those shots, still at 5K, for the VFX artist to start working on. In turn this will allow me to grade all the plates for the VFX shots separately and render/export the footage at ProRes 4444 5K, and just like that the VFX artist can relink to these plates (graded), the same way you would relink your graded footage at the onlining process. Simple.