Looking for ideas to best achieve a workflow.
Recently completed way too many versions of a program series at 23.976. With some versions being converted to 59.94, others to 25, and others staying at 23.976.
95 percent of the material was shot at 23.976, so no real issues there. Everything colored in Resolve using color trace from the original version, and some manual touchups etc.
Now i have an American broadcaster doing their own version of the show, including shooting some of their own material. They shot at 29.97, and cut in Avid at 29.97. I haven’t seen the cut yet, but they were guessing 60 percent of the footage is from the original shoot, and 40 percent is what they shot. Obviously, they want me to deliver a 59.94 HD master.
I’m trying to figure out if/how i can color trace their timeline, back from my originals. I’ve asked that they divide up the avid timeline tracks into stuff they shot vs 23.976 material.
Thinking about converting that 23.976 track into it’s own timeline in a 23.976 project in Avid and then exporting a list, coloring it, bringing it back in that way for the conversion, except, they will be flying in for an approval session, so it would be nice to be able to access the ungraded clips on the timeline in Resolve at that point.
Any ideas as to most efficiently work on this version?
(Yes i wish they would have cut and shot at 23.976 as well, but that ship sailed long before the project appeared on my doorstep)