Our colourist uses Resolve and AAF files linking to original media can cause all sorts of headaches if there are speed changes and motion keyframes so there's a few more things we do a little differently: With picture locked, I do all the clean up you do but before I export I move each source to it's own video layer (E.G. Sony A7siii track 1, GoPro Track2, etc.) --- colour coding the source clips based on camera type speeds up this process. Then I save the whole project as a temporary "export for CC" project. I remove/disable all LUTS on all the source and selected clips. Then I export each track individually as a ProRes QT (you have to turn off other tracks while you export each one). Then I reopen the original PP project, create a new timeline and bring each exported video track in and add them in the same order to the new timeline. Then I selected everything and choose "edit detection". Then I delete all the black clips from every track. Then I export and XML. Comes into Resolve cleanly without errors every time. And the colourists knows what is what. Wish there was a fast way to create a flattened video/audio file within in the timeline like Avid Media Composer can. Wish there was a fast way to temporarily turn LUTS off and then turn them back on; or exports that have an option to disable all source and applied LUTS. Helpful video. Thank you!
This is an awesome video, thanks for making it. I wish I knew this when I was learning prep! A few thoughts: 1. I wish the remix tool COULD be sent to mix without having to create a mixdown. The thing that sucks about a mixdown for music is it has no handles for the audio mixer. 2. Instead of using gang, I put the reference on the top of the timeline and change the blend mode to difference. Less chance of me missing subtle details. 3. I'm eternally tickled by the different jargony words we use in film. Instead of "Bake & Blade" we call that "Tape-to-tape." Funny little industry we work in.
Our colourist uses Resolve
and AAF files linking to original media can cause all sorts of headaches if there are speed changes and motion keyframes
so there's a few more things we do a little differently:
With picture locked, I do all the clean up you do
but before I export I move each source to it's own video layer (E.G. Sony A7siii track 1, GoPro Track2, etc.)
--- colour coding the source clips based on camera type speeds up this process.
Then I save the whole project as a temporary "export for CC" project.
I remove/disable all LUTS on all the source and selected clips.
Then I export each track individually as a ProRes QT (you have to turn off other tracks while you export each one).
Then I reopen the original PP project, create a new timeline and bring each exported video track in and add them in the same order to the new timeline.
Then I selected everything and choose "edit detection".
Then I delete all the black clips from every track.
Then I export and XML.
Comes into Resolve cleanly without errors every time.
And the colourists knows what is what.
Wish there was a fast way to create a flattened video/audio file within in the timeline like Avid Media Composer can.
Wish there was a fast way to temporarily turn LUTS off and then turn them back on; or exports that have an option to disable all source and applied LUTS.
Helpful video.
Thank you!
The separate project for the color prep is an EXCELLENT idea.
This is an awesome video, thanks for making it. I wish I knew this when I was learning prep!
A few thoughts:
1. I wish the remix tool COULD be sent to mix without having to create a mixdown. The thing that sucks about a mixdown for music is it has no handles for the audio mixer.
2. Instead of using gang, I put the reference on the top of the timeline and change the blend mode to difference. Less chance of me missing subtle details.
3. I'm eternally tickled by the different jargony words we use in film. Instead of "Bake & Blade" we call that "Tape-to-tape." Funny little industry we work in.
Glad you think so! It’s the nerdy stuff that trips us all up right?