Darren Roark
Forum Replies Created
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[Michael Gissing] “I am turning over mostly sub $400,000 broadcast docos where a day of mucking around a handover is a catastrophe.”
Every doc has it’s own set of variables don’t they?
Ideally if it’s a new to me vendor I try and offer a dress rehearsal turnover a couple weeks before their deadline that buys some time padding at the end when everything inevitably changes last minute.
The spanner that gets thrown in the works are the many places jumping the Blackmagic pirate ship to other color systems because they can charge more for them.
What is becoming a standard here is these places keep a Resolve system for conforming regardless of what NLE the show was cut in, then they send a FCP 7 XML from there to Baselight, Pablo or Lustre so all the FCP X timeline advantages in Resolve with mixed framerates becomes a moot point.
The irony..
I try to avoid telling anyone what the show was cut in if possible.
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[Michael Gissing] “So stop wasting my time by telling me what limited tools that suit you are always enough. I get that you and Robin don’t get it. I’m used to working with editors that at least accept that I might just know what I need.”
I’m more of a post sup at this point, more assisting/finishing work than feature editing. For my clients I try and remove as many time/labor consuming redundant tasks as possible.
I do turn over an end product that is agreed upon, sometimes it has to be negotiated as you are right, no two places are 100% alike. Talent should always take priority over the tools.
I am able to offer to the colorists who are finishing in Resolve is a fully conformed drp project file in lieu of having to perform a cumbersome and time consuming EDL conform.
If they are using Resolve and it works as promised, there should be no issue in accepting that as providing the end result should be welcomed.
I also turn over an EDL via the 3rd party app (and Resolve) as many distribution companies require it in the deliverables.
On a $2mil and under budgeted film the two things always in short supply are time and money. Since they can rarely raise more money I’ve been able to buy extra creative edit time for the director because of saving time in finishing without causing an end rush.
Most places require several days to a week for conform and ingest time. I provide a fast RAID drive that they can media manage to their shared storage system with all the media linked and online in Resolve or if they choose they can work directly from the drive.
As far as DAW turnovers go, a recent feature I sent an AAF to a sound designer who works on Walking Dead, he said it was one of the best turnovers he has ever received and he has been in the business since the early 80s.
Each character’s lav had a bed of tracks, everything was laid out in advance and there was no conform of the ISOs to do. All I said was I wish I could have taken the credit for that but it’s just how it comes out when the show is prepped properly and the location audio person is on the ball.
[Michael Gissing] “If you think post facilities are wrong then you just aren’t doing your job.”
I don’t think post facilities are always wrong, having worked at enough of them the reality is the client makes a promise and then hands off a nightmare so they need to CTA. What I take issue with is them charging for conform services I do not want to hire them for.
So to clarify, I do provide all the requested turnovers.
I just don’t want my clients to spend the extra time and money when it isn’t necessary to use archaic formats.
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[Oliver Peters] “The SOP at many high-end color grading facilities in LA is to require EDLs. Not XML, AAF, etc. “
Just because something is a standard operating procedure doesn’t make it right.
[Oliver Peters] “The reason is that they are using Linux-based systems and parse the EDLs into what they need. “
This can be done with the Resolve project without needing an EDL conform.
Many of them also still have outdated servers that require max 2GB file chunks.
Shouldn’t really be my client’s problem.
[Oliver Peters] “They also will not accept anything that requires speed changes, mixed frame rates, etc.”
Getting speed changes out of Avid into any color finishing is hell. I don’t blame them.
There are plenty of places who are willing to adapt.
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[Robin S. Kurz] “Or is anyone actually going to claim that there is any reason EDLs of all things are still used other than laziness, complacency or even just plain spite?”
It’s the last one, and the conform labor is clung to like a full canteen in a drought. Most big name post houses will not accept a Resolve project, only an EDL.
No XMLs, no project files, just EDLs.
My favorite are the places that switched their color systems because Resolve dropped in price to $1K.
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[Robin S. Kurz] “So remind me… when, how and where do I not have that ability with FCP X again? Be it via XML or with 3rd party apps? I’m very curious.”
If it’s built in to the app and therefore seldom updated it must be more professional.
Nowadays I just turnover a no effort on my part DRP project file as opposed to an EDL and they are ecstatic I even bothered to make sure the footage was linked to the drive I send them.
The last feature the colorist was able to open Resolve, import the project and start making looks. No online was needed.
But I guess this is somehow not professional next to EDLs. (Which I can make from FCP X)
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Is color finale on any clips?
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[David Lawrence] “But it’s not as good as built-in magsafe and I’d be leery of using it with a data connection.”
Agreed.
I’m curious if they lifted their magsafe licensing ban now that they have discontinued it. The adapter isn’t terrible but could just be another thing to forget to pack or lose. I’d probably use it at home the most so I’m of two minds.
Overall though they seem like great machines and to be able to have more than two thunderbolt ports changes things for me.
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[David Lawrence] “Seriously though, I can’t tell you how many times MagSafe has kept me from disaster. Losing it is a big step backward.”
I’m a bit nervous about that part too, I did some playing around with the MacBook and the amount of yank required to pull the cable out isn’t enough to pull the computer very far and they are really light. That said, the magsafe doesn’t allow for any.
Maybe someone will be allowed to make their own adapter?
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[Steve Connor] “The rumours also say that were are only getting new MacBooks and Macbook Pros, let’s hope that’s not true.”
The workstation class CPUs that can control Thunderbolt 3 unfortunately aren’t available yet. Unless Apple has them early somehow, if they don’t announce a new Pro, that would be my guess as to why.
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The only time you had to update to the newest OS was 10.1 no?
I remember that had to do with the change over to libraries.