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one big giant movie file
Greetings Folks,
Quick question… For various crazy reasons, instead of sending my DaVinci colorist an xml and a folder full of source clips, I may just need to send one giant video file of my entire 100 minute movie, along with the xml of the edit.
Am I right in thinking that if I do that, DaVinci can use the xml to chop up the big video file?
Are there problems with this other than the colorist not having the ability to mess with and update the edit?
thanks!!!!
Tom
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12 Replies
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Actually this might be a good thing.
You don’t have the hassle of dealing with multiple source.
The only thing you need is either to preconform and split or to scene detect and split.
The fun starts when you have cross dissolves, but there are numerous techniques to circumvent or handle them.
One is you cut at the dissolve point, make a second track and have an ungraded version of the clip fading into a graded one of the next.
I am using this construction with music videos sometime when I just get the “final” file.
But if they do this, insists on a LOCKED edit, and charge extra if they change their minds.A slice of color…
DaVinci 7.1.2 OSX 10.6.7
MacPro 5.1 2x 2,4 24GB
RAID0 8TB eSata 6TB
GTX 285 / GT 120
Extreme 3D+ WAVE -
For easy of management and performance most projects are done in reels, say 20-30 minutes each. If your 100 minute was in four reels I think your grading sessions will be faster.
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Thanks gents.
Luckily there are only a couple dissolves in the whole thing!
Anything else to be aware of to help davinci avoid problems doing the choppity chop?
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Remember to get an EDL as well to chop it up. We don’t support using XMLs for the Preconform workflow yet.
Best to get 4-5 small clips (each with it’s own EDL) instead of one long clip so you can have 4-5 small projects.
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Thanks much folks.
My colorist is very talented but new to DaVinci. One question… what would the drawback be to sending 15 chunks/reels instead of say 4? The FCP edit is already organized that way. Would save me a bit of trouble but I don’t want to slow him down at all…
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Yes that’s fine too.
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Thing is, the database gets very busy when you have 1500 shots or so in one project.
It takes much more time to save and autosave.
Keep it to max 500 shots and all is well.
Its also much easier to navigate.
When you are done setting up the reels, render everything and make one new project, using those outputs.
So you can provide a full playback movie but work organized in reels.A slice of color…
DaVinci 7.1.2 OSX 10.6.7
MacPro 5.1 2x 2,4 24GB
RAID0 8TB eSata 6TB
GTX 285 / GT 120
Extreme 3D+ WAVE -
DaVinci doesn’t yet support alpha’s, so I can generate mattes no problem. But will it still be able to import video files with alphas, and just ignore them?
We’re having a bit of a problem getting DaVinci to like the ProRes source footage. Could it be because it has an alpha embedded?
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Yes, that might be the problem.
Its a big feature wish right now and hopefully we will see it in the future.
For now, keep am clean if possible and supply the matte as external file with the same timecodeA slice of color…
DaVinci 7.1.2 OSX 10.6.7
MacPro 5.1 2x 2,4 24GB
RAID0 8TB eSata 6TB
GTX 285 / GT 120
Extreme 3D+ WAVE -
That’s a big pain… since FCP by default exports an alpha channel on a ProRes 4444 timeline…
I’m sure people do FCP to DaVinci with ProRes all the time. How do they do it?
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