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  • Frame WFH: Resolve remote grading

  • Oliver Peters

    May 6, 2020 at 6:30 pm

    More of Michael Cioni’s Workflow from Home series. this time with how collaboration works with Resolve Studio.

    https://youtu.be/m84TImSElIM

    – Oliver

    Oliver Peters | oliverpeters.com

    Oliver Peters – oliverpeters.com

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  • Michael Gissing

    May 7, 2020 at 12:47 am

    Good info. It all hinges around good internet and the ability to have camera originals uploaded. I don’t see why I would need to upload camera originals rather than hi res proxies. For me the internet is a stumbling block plus the need to have my grade machine online. Both are issues. Ironically there are people and digging machines in my front yard putting in fibre that I cannot access into my home.

    But in the future I will be able to access this fibre. Second problem is I could run Resolve in Linux. That way I can have the machines I want and the internet security. Ultimately though the preference is to have my clients with me in the room. Remote synchronous is a much bigger fiddle than travel and human connection. I can see with fast turnaround episodic TV how it might work but with one off documentaries, it means setting up complex conditions at the client end as well as my end.

    I know he is selling Frame.io but there is absolutely no reason why it is needed in the remote setup he mentions. Personally it makes no sense to me to upload camera originals. My next job is sitting on a drive next to me while the edit is happening interstate. I will get an AAF via email and bingo.

  • Oliver Peters

    May 7, 2020 at 1:13 am

    All good points. If you as the colorist have the high-res footage, then you really only need to get high-res proxies to the client. Yes, he’s selling Frame and they have good workflow integration. But, you could get the files to the client in a dozen different way.

    The idea with the camera files in the cloud is it assumes that the colorist doesn’t have the high-res files in the first place. His presentation assumes that’s at the editor’s site in a different location.

    Oliver

    Oliver Peters – oliverpeters.com

  • Michael Gissing

    May 7, 2020 at 1:20 am

    [Oliver Peters] “The idea with the camera files in the cloud is it assumes that the colorist doesn’t have the high-res files in the first place. His presentation assumes that’s at the editor’s site in a different location.”

    Yes. That is usually the case. However the effort to upload to the cloud compared with cloning a disk and posting it is still a major issue. I just don’t have the internet bandwidth to upload or download camera originals. I get that you only uploaded/download selects. But it still is a race that a courier or postal system is likely to beat in my internet world. Over time, sure that equation will change.

  • Oliver Peters

    May 7, 2020 at 1:24 am

    [Michael Gissing] “However the effort to upload to the cloud compared with cloning a disk and posting it is still a major issue.”

    Completely agree.

    – Oliver

    Oliver Peters – oliverpeters.com

  • Mark Raudonis

    May 8, 2020 at 2:39 pm

    Michael: You need to change “your internet world”.

    Those guys out front digging up the street to lay fiber….

    got any extra rolls of toilet paper? Slip them a few rolls and tell them to “branch off” to your house.

    Boom! Problem solved.

  • Michael Gissing

    May 10, 2020 at 7:32 am

    [Mark Raudonis] “Michael: You need to change “your internet world”.

    Oh I wish I could. The problem is they can’t just splice me into the fibre and connect the house until the authorities decide I can connect that way.

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