multiple sessions with different grades?

[Ola Haldor voll]

It shouldn’t be a problem. But you’d have to make versions for each clip since they share master timeline and footage.

[Laco Gaal]

davinci resolve manual, page 226

[Roman Hankewycz]

Ola,
The method of adding a new version to each shot isn’t practical for the situation I’m describing. I want to be able to change the grade on the entire timeline, not on each shot, and I want to be able to then switch between the two timelines easily. If I used versions then I would have to change the version of each shot in the sequence before the client could watch.

The closest I’ve come to a working solution is this:

1. Once you finish grading the session so that your first look is locked, duplicate the project.

2. In the new project, load the original EDL, AAF, XML for the session so that now you have a new session (let’s call it session2) that is identical to your first session (let’s call it session1).

3. Select session2 and, in the Color page, Batch Unlink the timeline. This will remove all grades.

4. In the conform page, use Color Trace to copy grades from session1 in your original project to session2 in the new project.

5. Now you have 2 identical sessions in one project that are independent in terms of grades.
Now in session2 you can keep the nodes that were used to balance the shots for continuity, remove the nodes used to create the look in session1, and add new nodes to create a new look. Also, Resolve allows you to easily switch between sessions so showing the client the different options is quick.

The problems with this workflow are:
-Creating a duplicate of a session is a pain and is prone to problems. If you had to manually adjust the edit in Resolve after loading your first XML, then you’ll have to make the same adjustments to the edit the second time around. For the life of me I don’t understand why duplicating sessions isn’t supported!
-You can’t use Color Trace within the same project, that’s why you have to create a new project at the beginning of the process.

I’m curious to hear what others think of this workflow.
Thanks,

roman hankewycz
harbor film company // colorist

[Joseph Owens]

I assume you’re duplicating the session at the Finder level, and not necessarily using the “Save As…” dialogue from within Resolve, and that is why everything stays linked.

You could create a new session named something else, like “My Movie_Alternate Look”, which would use your current grade list as a starting point. Then you can add and subtract nodes and Local versions to your heart’s content, no need for ColorTrace.

You should then investigate Local/Remote Versions and Batch Unlinking, as an alternate approach to Master Timeline grouping.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

For starters:

Linked and Unlinked Grades in Multiple Sessions
By default, any clips that refer to the same file in the Media Pool are linked and share the same remote versions of grades that are applied to them. For example, two clips that are close-ups from the same take refer to the same media file, so they’re both automatically linked to one another and share the same remote grades.
This is also true for clips that appear in multiple sessions. Clips that are located in different sessions, but that refer to the same file in the media pool, are linked and share the same remote versions of grades. This is why you can grade one session, and then import a reedited version via EDL, AAF, or XML, and have the new session automatically inherit all of the grades from the previous session.
However, you can override this behavior to have one session that’s independently graded from the others. Simply select that session, open the Color page, right-click any clip in the Thumbnail timeline, and choose Batch Copy from the contextual menu. All grades are copied to Local Versions, and from that point on all changes you make to grades in that session have no effect on the other sessions in your project.
For more information about Local and Remote sections, see the Color chapter.

You mean “Old Ben”? Ben Kenobi?

[Roman Hankewycz]

jPo,
Thanks for the great input. You’re right, using Batch Copy is a more effective way of getting that second session started.
I’m curious about what you said about copying the session on the Finder level. I’m only aware of duplicating projects via “save as,” how do you do it on the Finder level?
Thanks,

roman hankewycz
harbor film company // colorist

[Eric Johnson]

If I understand correctly, you want to add you “look” nodes after the show has been balanced, correct?

Would it then be unreasonable to work with versions on the “Track” corrector, for these “look” nodes? After you get the main thrust of the look figured out, you could then fine tune w/ dynamics after you get the OK to proceed… I realize it’s not perfect, but then you don’t have to worry about duplicate projects and extra work…

[Roman Hankewycz]

Eric,
I’d say that’s a pretty good solution too. Much simpler for sure!
I’ve heard of colorists who prefer to save track corrections for things like a trim pass and not use it for actual grading, but the fact is that it would work perfectly for this situation.
Thanks,

roman hankewycz
harbor film company // colorist

[Joseph Owens]

[Roman Hankewycz] “I’m curious about what you said about copying the session on the Finder level. I’m only aware of duplicating projects via “save as,” how do you do it on the Finder level?”

Sometimes applications allow you to Find your projects and back them up here and there, and there is also an export function within Resolve. With Apple COLOR you could open the colorproj container and harvest it for parts like a recently deceased motorcyclist.

jPo

You mean “Old Ben”? Ben Kenobi?