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How to Conform ARRI RAW and RED R3D Dailies in DaVinci Resolve: From Cloud Review to Online Finish

Step-by-step conform workflow for ARRI RAW and RED R3D dailies — download original camera files from Cutsio, relink in DaVinci Resolve, match the review stream color, and deliver the online finish.

How do you conform ARRI RAW and RED R3D dailies from a cloud review platform to a DaVinci Resolve online finish?

To conform ARRI RAW or RED R3D dailies from Cutsio to DaVinci Resolve, download the original camera files from Cutsio, import them into Resolve, create a new timeline at the correct resolution and frame rate, and relink the offline reference to the original raw media using timecode and reel name matching. The broad conform sequence is similar for both formats, but RED R3D needs extra attention to folder integrity, RMD sidecars, and raw-setting interpretation.

The conform gap between cloud review platforms and NLE finishing is one of the most common pain points in post production. The director and editor review dailies in Cutsio, make selects, and build a rough cut using the streamable review assets. When the picture is locked, the online editor must conform the timeline using the original camera files for the final grade and finish.

This guide covers the exact conform workflow for both ARRIRAW and RED R3D footage, including common pitfalls and troubleshooting for each format.

What is the end-to-end conform workflow?

The conform process follows the same sequence for both ARRIRAW and RED R3D footage, with format-specific steps at the relink and color stages.

| Step | Action | Format-Specific Notes |

| :--- | :--- | :--- |

| 1 | Download original camera files from Cutsio | ARRIRAW: .ari, .mxf, or .arx files. RED: .r3d files with .rmd sidecars |

| 2 | Organize media in a folder structure | Keep ARRIRAW MXF files in one folder, R3D files in another with their sidecars |

| 3 | Create a new project in DaVinci Resolve | Set timeline resolution and frame rate to match the source media |

| 4 | Import original camera media into the Media Pool | Resolve decodes ARRIRAW and R3D natively |

| 5 | Import the offline reference video | Use the Cutsio review stream export or the offline edit XML/EDL |

| 6 | Relink or manually conform the timeline | Use timecode matching for ARRIRAW; verify reel name for R3D |

| 7 | Verify conform accuracy | Check timecode, frame count, and audio sync |

| 8 | Apply color management | Set ARRI LogC4 or REDWideGamutRGB color space in Project Settings |

| 9 | Grade and finish | Full grading pipeline using the original camera files |

How do you download and organize original camera files from Cutsio?

Cutsio retains the original camera files as downloadable attachments for every clip uploaded through the enterprise raw ingestion add-on. Each clip in the Cutsio library has a download option that provides the original .ari, .mxf, .arx, or .r3d file.

To prepare for conform:

1. In Cutsio, navigate to the library or Collection containing the selects
2. Download the original camera files for each selected clip
3. Organize files by camera format — ARRIRAW MXF files in one folder, R3D files in another
4. For RED footage, verify that .rmd sidecar files are downloaded alongside each .r3d
5. For ARRI footage, no sidecars are needed — all metadata is embedded in the MXF container

The folder structure should mirror the structure that DaVinci Resolve will use for relinking. A recommended structure:

/Conform/
/ARRIRAW/
A001C001_240101_001.mxf
A001C002_240101_001.mxf
/RED_R3D/
A001_0101CI.r3d
A001_0101CI.rmd
A001_0102EI.r3d
A001_0102EI.rmd

How do you set up the DaVinci Resolve project for conform?

Before importing media, configure the project settings to match the source footage.

1. Open Project Settings > Color Management
2. Set Color Science to DaVinci YRGB Color Management or ACEScct
3. For ARRIRAW: Set the Input Color Space to ARRI LogC4 (Alexa 35) or ARRI LogC (Alexa Mini LF)
4. For RED R3D: Set the Input Color Space to REDWideGamutRGB/Log3G10
5. Set the timeline resolution to match the project delivery format (UHD 3840x2160 or DCI 4K 4096x2160)
6. Set the timeline frame rate to the project frame rate (typically 23.976 or 24 fps)

For mixed ARRI and RED projects, use DaVinci YRGB Color Management with individual clip color space tagging, or use ACEScct with the appropriate Input Transforms assigned per clip.

How do you conform ARRIRAW footage in DaVinci Resolve?

ARRIRAW conform is straightforward because every .mxf file contains complete metadata including timecode, reel name, and camera settings.

1. Import all ARRIRAW .mxf files into the Media Pool using File > Import Media
2. Resolve automatically detects the ARRIRAW format and applies the correct debayer
3. Create a new timeline at the project resolution and frame rate
4. Import the offline reference (ProRes reference file or XML/EDL from the offline edit)
5. Match the offline clips to the ARRIRAW source clips using timecode
6. Verify the conform by checking timecode continuity and frame count
7. Adjust RAW settings per clip if needed (ISO, white balance, tint)

For conform from an XML or EDL:

1. Import the offline timeline XML into Resolve using File > Import Timeline
2. Resolve attempts to automatically relink each clip to the ARRIRAW source files
3. If automatic relinking fails, manually relink by selecting the offline clip and using the Conform Lock or manually matching by timecode and reel name
4. Verify that the ARRIRAW RAW settings match the intended look

The most common ARRIRAW conform issue is reel name mismatch. If the offline edit used a different reel naming convention than the ARRIRAW file header, the automatic relink will fail. Fix this by manually assigning the correct reel name in the metadata panel before conforming.

How do you conform RED R3D footage in DaVinci Resolve?

RED R3D conform follows the same process as ARRIRAW but requires additional attention to sidecar metadata files.

1. Import all RED .r3d files into the Media Pool using File > Import Media
2. Verify that RMD sidecars and any look-reference files are preserved with their parent R3D folder
3. Create a new timeline at the project resolution and frame rate
4. Import the offline reference
5. Match the offline clips to the R3D source clips using timecode and reel name
6. Verify the conform and check that RED RAW settings are correct
7. Adjust RED RAW settings per clip (ISO, white balance, color science version, look file)

The critical RED-specific step is verifying that the clip opens with the intended raw settings and reference look. In Resolve, compare the conformed R3D against the approved dailies reference and confirm that any RMD sidecars or look references are present. If the look is missing, the metadata sidecar may have been separated during transfer.

| RED Conform Issue | Cause | Fix |

| :--- | :--- | :--- |

| Missing look reference | RMD or look sidecar missing from R3D folder | Restore complete RED folder package and re-import |

| Wrong color science | R3D recorded in different RED SDK version | Update RED SDK in Resolve |

| Timecode mismatch | Reel name difference between offline and source | Correct reel name in metadata panel |

| Clip offline | R3D file path changed during conform | Relink using the Media Pool right-click menu |

| Audio out of sync | Scratch audio not matched to R3D source | Manually sync audio or use sync via waveform |

How do you match the review stream color in the grade?

The Cutsio review stream is generated with the correct color transform applied — LogC4 to Rec.709 for ARRIRAW, REDWideGamutRGB to Rec.709 for R3D. When conforming in Resolve, the colorist starts from the flat log image and must apply the same viewing transform to match the dailies look.

For ARRIRAW footage in Resolve Color Management:

1. Set the Input Color Space to ARRI LogC4 (or ARRI LogC for older Alexa cameras)
2. Set the Timeline Color Space to DaVinci Wide Gamut or Rec.709
3. Set the Output Color Space to Rec.709
4. The viewing transform in Resolve will approximate the Cutsio review stream look

For RED R3D footage in Resolve Color Management:

1. Set the Input Color Space to REDWideGamutRGB/Log3G10
2. Set the Timeline Color Space to DaVinci Wide Gamut or Rec.709
3. Set the Output Color Space to Rec.709
4. Apply or reference the approved RED look/RMD metadata if one was used in dailies
5. The viewing transform should be compared against the Cutsio review stream and adjusted if metadata or color-management assumptions differ

For ACES workflows:

1. Set the ACES Input Transform per clip: ARRI LogC4 for Alexa 35, REDWideGamutRGB for RED
2. Set the ACES Output Transform to Rec.709
3. The ACES transform provides a mathematically precise match to the dailies look

To verify the color match, export a single frame from the Cutsio review stream and compare it to the same frame in the Resolve timeline. Adjust the grade as needed until the two match visually.

What are the most common conform failures and how do you fix them?

| Failure | Likely Cause | Resolution |

| :--- | :--- | :--- |

| Clips show as offline | Source files moved or renamed | Use Resolve's Relink function to point to the correct folder |

| Timecode mismatch | Offline edit used different timecode source | Verify source timecode in Cutsio metadata; rebuild offline edit with correct timecode |

| Wrong frame rate | Project or timeline frame rate does not match source | Check source frame rate in Resolve clip attributes; correct timeline frame rate |

| Missing R3D look | RMD or look-reference file missing | Restore the complete RED folder package and re-import |

| ARRIRAW color shift | Wrong ARRI SDK version or color space setting | Verify ARRI SDK version in Resolve; check Input Color Space setting |

| Audio drift | Sample rate mismatch between scratch audio and synced audio | Check audio sample rate in timeline and source; conform audio separately |

How does Cutsio simplify the conform process?

Cutsio retains the original camera files as downloadable attachments, so the online editor downloads the exact files that were uploaded from set. The metadata — timecode, reel name, camera settings, look files — is preserved exactly as it was on the camera card. This eliminates the common conform problem of mismatched metadata between the offline proxy files and the online source files.

Additionally, Cutsio's Visual Intelligence indexing generates frame-accurate metadata that can be used as a conform reference. If the XML/EDL conform fails, the online editor can use Visual Search to find the exact frame and manually match it in the timeline.

FAQ

Can I export an XML from Cutsio for direct import into DaVinci Resolve?

Cutsio supports XML export for timeline-based workflows. The XML contains timecode and reel name data that Resolve uses for automatic conform. For raw footage conform, use the original camera files downloaded from Cutsio rather than the review stream files.

Do I need to re-transcode ARRIRAW or R3D files before conforming in Resolve?

No. DaVinci Resolve natively decodes both ARRIRAW and RED R3D. Import the original camera files directly into the Media Pool. No transcoding or proxy generation is required for the online conform.

How do I handle mixed ARRI and RED footage in the same conform timeline?

Import all ARRIRAW and R3D files into the same Media Pool. Use DaVinci YRGB Color Management with individual Input Color Space tags per clip. Set ARRIRAW clips to ARRI LogC4 and RED R3D clips to REDWideGamutRGB/Log3G10. The timeline conform steps are similar, but RED metadata and sidecars should be checked separately.

What if the offline editor used the Cutsio review stream for the edit?

The offline edit should use the Cutsio review stream as reference video, not as source media. When the picture is locked, the online editor downloads the original camera files from Cutsio and relinks to those, not the review stream files. The review stream is a viewing proxy, not a conform source.

Does Cutsio preserve RED .rmd sidecar files for conform?

Yes. When you upload RED R3D files, Cutsio preserves the associated .rmd sidecar files. When you download the originals for conform, the .rmd files remain attached and DaVinci Resolve reads them on import.

For more ARRI RAW and RED workflow guides, see the ARRIRAW container guide, the mixed ARRI and RED dailies workflow, and the cloud dailies for ALEXA 35 and RED V-RAPTOR guide.