Ah, I understand. And I agree, I think that's the most likely trajectory for Avid and Resolve. Maybe Avid will stay king with the big houses and Resolve will bump PP out of the mid-small production market. There's going to be increased demand for doing everything under one umbrella, and Resolve seems the only one making the serious effort toward that end.
Rafa, your last couple sentences kind of contradict each other, what did you mean?
I think Resolve is going to dominate before too long. They're working on meaningful changes faster than anyone else--pancake timelines and a professional grade DAW in the last two updates alone make it a contender for the first ever all-in-one software, though I'll be the first to say they're not there yet (apart from color grading, where Resolve is king). I think being able to make adjustments to any component (edit, audio, color) at any time in the post pipeline will be a huge attraction, especially to the smaller outfits who don't have a huge budget to outsource everything. I met a director at AFI docs with a film in the festival and he was still working on the edit, even during his festival tour. Having everything you need in one software, even if imperfect, would be huge. And Adobe sucks on two out of the three critical components--audio and colour.
in my experience, you want to wait on effects until after you've exported the XML to resolve. I don't round-trip, though, I just finish in Resolve.
I don't think Pro Res 440 exists. Either 420, 422 or 4444 is probably what they're asking for. Find that out and simply export with that setting. I think they're uncompressed, and I'm unaware of any other settings to adjust, other than audio. maximum bit depth I suppose, maybe, in PP.
*sigh* I miss Kodachrome.
mmm, well, I'm afraid I disagree, (perhaps I should have added the obvious, that the statement is based on opinion). They capture and record their data in different ways, with different sensors that interpret colours differently, and I bet I could pick out a Canon vs. Sony sensor 9 times of out ten. If I'm so wrong about that, why is Arri both incredibly expensive and incredibly popular in the high-budget arena? If they could just take any 10-bit 2K image and have it fixed in grading, why aren't they saving the money? It's like saying Ektachrome and Kodachrome were equals, all they did was record data. Nope. For the price range, Canon has the better sauce.