Multiple edit workflow

[Margus Voll]

I have wondered why you want to grade 2 times ?

Could you explain ?

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Margus

https://iconstudios.eu
https://vimeo.com/iconstudioseu/videos

DaVinci 10, OSX 10.8.5
MacPro 5.1 2×2,93 24GB
GUI 4000 / GPU GTX 780
DL 4K
Eizo Color
Scope Box
Full Ligthspace CMS

[Stepan Ko]

Hello Margus

Well it’s not so much grading 2 times thats the problem. Its the after effects work that needs to be done on the shots. Some of them are done frame by frame for removal of blemishes and skin work. So it’s time consuming and not something you want to do on the same clip 4 times just because the in and out points of the edit are slightly different. And the second round of Davinci is just for tweaking for the client, which is not really a problem cause it’s easy to bring the clips back into resolve.

Hope this explains it a bit more!

Stepan

[Margus Voll]

You could do then one universal edit so to say where similar shots follow each other?

Then grade it and re link in nle if mastering ?

We do it a lot that we grade extended shots or versions of shots and then relink them in editor.

Or if there is not massive amount of windows there you could use still frames or colour
trace and re track windows where needed.

You could go which ever way suits you more.

—

Margus

https://iconstudios.eu
https://vimeo.com/iconstudioseu/videos

DaVinci 10, OSX 10.8.5
MacPro 5.1 2×2,93 24GB
GUI 4000 / GPU GTX 780
DL 4K
Eizo Color
Scope Box
Full Ligthspace CMS

[Stepan Ko]

Yeah I think this is the way I should have done it. Just chucked the shots from the longest edit onto another timeline and extended them a bit to include everything. Right now it’s a mixture of still frames and slight speed changes to cheat and extend the clips slightly where they’ve been trimmed too much. It could be cleaner though!

Would be interesting to know how people deal with such problems on a feature film scale. It’s not so bad on small scale, cause there are only 20-30 clips used. But how do you get that sorted with the heaps of footage used for a feature?

[Marc Wielage]

[Stepan Ko] “Would be interesting to know how people deal with such problems on a feature film scale. It’s not so bad on small scale, cause there are only 20-30 clips used. But how do you get that sorted with the heaps of footage used for a feature?”
It helps to have dozens and dozens of people in the background helping. The issue of post deadlines and edit changes have never been worse than they are right now, and I don’t see this problem getting any better. Clients have a bad tendency to have unrealistic expectations, particularly when presenting 100 changes in a single reel that have to be fixed in a few hours. It’s our job to rise to the challenge and fix them as much as humanly possible.

I know of a case where a superhero movie from the last 9-10 years had a half-dozen different color-correct versions one week prior to release, because the producer, the director, the DP, and the studio each had different versions they favored. The end result was a compromise between all of them, but in truth the movie was terrible and still bombed. No amount of color correction or re-editing can fix a project that troubled.

As far as your situation goes, you could time all the shots once with handles and then let the VFX people deal with them and do the conform. This same kind of thing happens all the time with feature trailers, which are typically done from the same 30 or 40 shots over and over again, spread out over 40 or 50 different TV trailers for different markets. If you’re fast and good, it doesn’t take that long to find the shots and re-time them in order to make them look consistent.

[Christopher Reig]

[Marc Wielage] “It helps to have dozens and dozens of people in the background helping. The issue of post deadlines and edit changes have never been worse than they are right now, and I don’t see this problem getting any better. Clients have a bad tendency to have unrealistic expectations, particularly when presenting 100 changes in a single reel that have to be fixed in a few hours. It’s our job to rise to the challenge and fix them as much as humanly possible.”

You are so right about that. Not long ago on a show I worked on for NBCUniversal, they were re-shooting an entire scene about 2 days before it went to air. In a different country. Was a busy two days.

As far as feature films go, every film is it’s own beast. Some of them are cut, color and out it goes. Others (especially VFX-heavy films) have VFX shots coming into the mix right up to the last minute. For the trailers, as Marc said, it’s a pool of shots approved for marketing, cut a million different ways.

[Stepan Ko]

Thanks for the replies! It’s interesting to hear people who work on the highest level. Unfortunately for me i work in a very small shop so the vfx team is sitting right near me and is asking the same questions XD! In any way I now know what to do so it’s all good!