Second tests for my 2014 film about healing horses and adolescents, "The One-dollar Champions." Besides the fact that the first part of the film was shot completely in moonlight (!), this test was mostly for me to figure out the round-trip workflow from the BMPCC raw. Here goes: ingesting raw video into Davinci Resolve 10, doing a quick one-light pass and then exporting ProResLT proxies into FCPX. Editing the proxies in FCPX, then exporting the .fcpxml and importing that back into Resolve. Grading the clips in Resolve along with the FilmConvert OFX plugin operating inside of Resolve, which also added film grain. Then rendering out the final ProResHQ clips and saving a new .xml which I then imported into FCPX, which automatically made a new project and a new event with the final-graded clips.

This was shot in Petaluma (before sunrise!) and Point Reyes (the town itself and at Pierce Point, at the tip of the peninsula) in 1080/24, partly with a monopod and partly with an inexpensive shoulder mount, using the Nikon 28/1.8, the Tokina 11-16/2.8 (both with Speedbooster) and the Panny 12-35/2.8 (whose OIS was essential for those freezing cold out the sunroof chase shots!).

All I can say about the combination of rawDNG, FCPX, Resolve and FilmConvert is HOLY COW! What an awesome (and actually very straightforward) workflow. I've been making my way through Alexis Hurkman's fantastic Resolve tutorials published by Ripple Training, which are essential for learning this monolithic (and totally FREE!) software application.

Music: "All the King's Horses" by Robert Plant & The Strange Sensations.

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