I bought Catalyst Prepare before it went to subscription. I've gotten good results from it but am obviously on a dead end unless I go subscription. 

Of course you can do it all in Resolve if you have the up-to-date version; don't be put off by having to learn new methodology. Cineform works in Vegas and Resolve as should ProRes.

A lot of people are using DaVinci Resolve these days for color grading, then relying on other NLE's for edit. I've been a Vegas user for 12 years but made the switch to Resolve for coloring about 6 months ago. I can't seem to find a good intermediate file in Resolve that works well, or at all in Vegas. I thought version 14 would have embraced the Resolve workflow, but seems it hasn't. Resolve files that will import into a Vegas timeline play back real shoddy. They have codec selections specified for Premier and Final Cut, but no Vegas. Anyone have a clue about Vegas and Resolve workflows?

Would this help you? https://www.vegascreativesoftware.info/us/forum/vegas-pro-edit-and-davinci-resolve-workflow--103771/

I've tried some and the only two I have found so far is CineForm and DNxHD.  Don't know if you are interested in either of them.  The DNxHD needs to me in the MOV wrapper out of Resolve, and Vegas v14 will require the 32-bit Quicktime to handle it, which is of no advantage in my opinion, depending of course on your source media.

Quicktime for Windows is now considered a security risk and is no longer in development. I still have it installed here for the time being but it's a big factor against using DNxHD over Cineform.

I work with Super 8mm and 16mm color negatives that I scan with my own machine. This one does 24bit scans and exports a lossless TIFF sequence at 1080P. 

VTXrocketeer, I'll look into that, thanks

I've tried some and the only two I have found so far is CineForm and DNxHD.  Don't know if you are interested in either of them.  The DNxHD needs to me in the MOV wrapper out of Resolve, and Vegas v14 will require the 32-bit Quicktime to handle it, which is of no advantage in my opinion, depending of course on your source media.

Quicktime for Windows is now considered a security risk and is no longer in development. I still have it installed here for the time being but it's a big factor against using DNxHD over Cineform.

Hi Nick,

I agree there is a published security risk and Apple no longer supports it.  However, as I understand the risk, it only involves the use of the player.  Using WMV, vlc, potplayer or others instead of the QuickTime player avoids the security risk.  My concern is the 32-bit, not the security risk or lack of apple support.  Nonetheless, your point should be valuable to those not aware.  Thank You.

Best Regards......George

Cineform is still a great codec to act as 10bit intermediate between Resolve and Vegas. Another choice could be the Sony YUV codec or uncompressed, but that will deliver huge files. XAVC I would be great but is no format that can be rendered by the free version of Resolve. With DNxHD I am not so happy, because the playback behaviour is worsern then with ProRes. So that is why up to now I stick to Cineform.

Further grist for the mill: in Resolve, selection of the Cineform codec -- you know that's free, right? -- on the "deliver" tab exposes a number of quality levels in a drop-down menu.  I drop this down to the lowest quality in order to yield the smallest possible Cineform proxies that edit so easily within Vegas.  These proxies don't look pristine, and who cares about the bit depth, but you don't need all that to edit: all that is important are your edit decisions that are exported from Vegas in an XML file.  Hence, if you like the Resolve-Vegas roundtripping procedure to which I linked above, this is really a great way to go: cut fast in Vegas, then grade your (now edited) original TIFF sequences in Resolve.

Thanks, these are all good suggestions. I'm going to try the Cineform tonight and see how well it works. and try proxies later as well. I know I should edit before I color, but since i'm working with flat scans of color negative film, I like to at least have a base correction for editing. When it comes to editing, I work with a lot of in camera techniques that are dependent on post edit techniques, in which I have relied on Vegas since version 4.0. I do a lot of velocity envelopes, compositing, fades, effects, neat video, ect... but for me, It's harder to have a creative scope trying to edit a raw image. I know the Davinci editor will keep getting better, but i'll only use it to cut scenes to be colored. I added the $350 Tangent Ripple track ball panel to the free version of Resolve, and there's no going back to Vegas color tools. 

Thanks, these are all good suggestions. I'm going to try the Cineform tonight and see how well it works. and try proxies later as well. I know I should edit before I color, but since i'm working with flat scans of color negative film, I like to at least have a base correction for editing. When it comes to editing, I work with a lot of in camera techniques that are dependent on post edit techniques, in which I have relied on Vegas since version 4.0. I do a lot of velocity envelopes, compositing, fades, effects, neat video, ect... but for me, It's harder to have a creative scope trying to edit a raw image. I know the Davinci editor will keep getting better, but i'll only use it to cut scenes to be colored. I added the $350 Tangent Ripple track ball panel to the free version of Resolve, and there's no going back to Vegas color tools. 

Ah, I see.  I shoot flat in RAW S-log2, so I can understand how a base grade on proxies could help creativity.  But you're doing a lot more at the edit stage that can't go back to Resolve in an XML-based round trip.  In my experience to date, anything more than cuts and dissolves does not translate well from Vegas to Resolve in an XML export, so you're right to look toward a full (or significant base) grade first in Resolve and export high quality masters for subsequent cutting, etc. in Vegas, with a possible final grade back in Resolve.  For instance, I reversed a clip in Vegas, and it was bungled badly in Resolve, in which I had to just do it from scratch.  Massive headache, that was, as I sussed out Resolve's time re-mapping function.

I'm envious: that Tangent Ripple looks terrific.

I did a couple of tests. First tried to render my file in Resolve as a Cineform 10bit. After a few seconds Resolve gave me a "file not supported" error. So I moved on to a uncompressed YUV 422 10bit avi and it rendered super fast. That gave me an 11.8GB .avi for 1.5 min of footage. The .avi dropped into the Vegas 14 timeline from explorer just fine. playback was very smooth, even at best full. applied some Neat Video and rendered a Sony mxf 1080P 422. The final mxf is about 600mb, VLC media playback and quality are excellent on my HD desktop monitor. For my workflow, I think the uncompressed AVI is the way to go from Resolve to Vegas. 

happily used dnxhd but am now using xavc-i which works perfectly and 'seems' to look sharper... (mostly ex1 mp4)

Resolve gave me a "file not supported" error.

You need to have the codec installed already.

serena - was that re xavc-i?

if so all i have on my nle / laptop is 13 and resolve and i have xavc-i...

Hi Leslie, I see my reply is confusing but I intended to reply to Tony Schilling, who said Resolve gave him the error message I quoted. I know Resolve will render with the Cineform codec (having done so myself) so I presume Tony hasn't installed the GoPro software.

Hi Leslie, I see my reply is confusing but I intended to reply to Tony Schilling, who said Resolve gave him the error message I quoted. I know Resolve will render with the Cineform codec (having done so myself) so I presume Tony hasn't installed the GoPro software.

Correct, I do not have the GoPro software installed. Not sure if I will install it yet or not. Will probably stick with the uncompressed 10bit 422 option for uncompressed scans. I also could not find the xavc-i? I did find a list of Sony MP4's under the second MXF tab in Resolve? 

Like others in this thread, I've yet to find the best workflow for the "grade in Resolve, cut in Vegas" scenario. With VP 13 working great on my new system (with GTX 1080), which I build with Resolve in mind - I spent the entire time waiting for the VP 14 learning grading tools in Resolve and not even trying to learn its Edit "Page"; I love the simplicity and efficiency of cutting in Vegas so much that I was taking for granted I'd be better off wrangling between the 2 systems rather than do everytin gin Resolve - especially that at that time, I was believing (wishful thinking?) that the playback/render performance could only get better when VP 14 finally arrives, so - with it already being great in VP 13 - I didn't see any compelling reason to give up cutting in Vegas... Unfortunately, this is what I'm facing now instead:

1. The T/L acceleration in VP 14 being so poor even with my really powerful GPU, I pull my hair each time I switch from always full fps Resolve to Vegas :-(

2. An additional, also extremely disappointing and unexpected, fact is that for whatever reason (if someone can advise/comment, I'm all ears), my Cineform 10-bit YUV files exported from Resolve grading projects look really poor in VP 14:

a. they have wrong levels (this *might* be due to the fact that I grade for HDR10 in Resolve and my output reflects that - when such an exported cllip is read into Vegas, even with 32-bit float pixel precizion setting it's flatter and darker compared to how it looked in Resolve before the export - so this may not be Cineform-related)

b. they are terribly noisy and as such unfit for final product rendering (why they are noisy at all? - it beats me - comments again, please); 

All this means this worklow is unusable for me, so I'm about to try a reversed one: cutting in Vegas first, then moving to Resolve and only grading the already edited timeline... Or - and this is something I never even thought about before - doing everything in Resolve.... BUT: is the basic set of NLE editing tools matured enough in Resolve, justifying another effort of climbing its "Edit Page" learning curve? Decisions...

Piotr

The editing capabilities of Resolve have been greatly improved in v12.5 and quite worth scrambling up that learning curve. As a long time Vegas user the procedures are less intuitive, although that might be because I'm a verteran Vegas user and I would feel differently coming from Final Cut or perhaps Avid. But the power is there. In addition you get seamless interaction with Fusion (even if you only use it for very fancy titles!).

Thanks for comment, Serena - who knows? Perhaps I'll move entirely to Resolve indeed; I do have the Studio license so can do an (important) bit more than those using the free version... A question to you on another note, if you don't mind:

- as you might remember, my partial disability forced me to give up paid gigs entirely and what I'm currently doing (in both shooting and editing) is only intended for my own use. Hence grading in HDR10 (the "poor man's" HDR workflow, only requiring HDR source footage which I have in the Slog3/S-Gamut3.Cine my FS7 records, a capable editor like Resolve, and a HDR-capable monitor - my Quantum Dot Samsung SUHD is rated for HDR 1000). Also, the latter will be used for "delivery" of my hobbystic efforts - hence the question: which codec/format of my final product would you advise with all I just mentioned in mind? I'll be watching it straihgt form my PC and on the same SUHD I use for editing - so file size is not as important as is quality (though at some point down the road, I *might* think of burning to BD, and playing back from an UHD and HDR capable BD set-top player; currently only one such player exists and it's also by Samsung). I thought of HEVC - but Resolve doesn't export HH.265, and VP 14's HEVC version is 8-bit only... Which other format - efficiently compressed but conveing all the beauty of 10-bit 4:2:2 video, HDR-graded, too - can you think of, Serena? TIA :-)

Piotr

Can a Contour Shuttle Pro 2 be used in Resolve?

2. An additional, also extremely disappointing and unexpected, fact is that for whatever reason (if someone can advise/comment, I'm all ears), my Cineform 10-bit YUV files exported from Resolve grading projects look really poor in VP 14:

a. they have wrong levels (this *might* be due to the fact that I grade for HDR10 in Resolve and my output reflects that - when such an exported cllip is read into Vegas, even with 32-bit float pixel precizion setting it's flatter and darker compared to how it looked in Resolve before the export - so this may not be Cineform-related)

b. they are terribly noisy and as such unfit for final product rendering (why they are noisy at all? - it beats me - comments again, please); 

Cineform decoding is different between Resolve and Vegas. Resolve decode it as Full level (RGB), but Vegas as Video level (sRGB). Why? I definitely don't know.

Below screenshot from Resolve

And from Vegas

And GoPro software (which I hope decode Gopro footage correctly) gives an image in between.

So which one is right, which one is wrong?

Anyway to get the same result in Resolve and Vegas, you must change the Data level option (rendering tab) in Resolve to Video i/o Auto.

Regarding the noise, I don't notice any difference, but I don't grade HDR 10bits.

Editing in Resolve (for me) is a pain in the a** compare to Vegas. Not intuitive and working with audio is a nightmare.

Whn I need heavy color correction usually edit in Vegas, transfer the xml to Resolve, color correct in Resolve then back to Vegas for Audio.

 

Cineform decoding is different between Resolve and Vegas. Resolve decode it as Full level (RGB), but Vegas as Video level (sRGB). Why? I definitely don't know.

With Vegas 32-bit (full) project setting, shouldn't decode be also Full level (RGB)?

Piotr

PS. However, I can also see clipping the highlights in Resolve-exported Cineform  when read back into Resolve (while for neither DNxHR 444 or XAVC-I codecs in MXF OP1A format do NOT show any clipping). So Cineform - for whatever reason - do not convey HDR when exported from Resolve....