Roman Hankewycz
Forum Replies Created
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Great suggestion, thank you Peter.
roman hankewycz
harbor film company // colorist -
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 -
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 -
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 -
David,
I successfully tried out 2 workflows outlined by Blase Theodore in a post of mine: https://forums.creativecow.net/readpost/277/13198
I’m curious to hear if it works for you. They require some manual labor but sending to Resolve via EDL and AAF worked.roman hankewycz
harbor film company // colorist -
Thank you Blase,
Both of your workflows worked, i just wish they didn’t require so much manual labor. I can’t imagine doing this on a feature.One thing I’d like to point out. In resolve, I tried linking my offline AAF to the original 5D files by importing the original files into the media pool and then modifying the reel name pattern to suite. As a result I was able to get my session to link to the original 5D files within Resolve!
However, when it came time to send back to AVID, things went awry. When I imported the new AAF into AVID my sequence linked to the offline DNxHD media, not to the newly created DNxHD media from resolve. I have no idea why this happened but it’s a huge bummer. Any thoughts?roman hankewycz
harbor film company // colorist -
From what I’ve heard RED settings are not versionable. Meaning if you set the red settings on a clip, it will effect all instances of that clip. So if you stack two instances of a shot the way you’re saying, the moment you change the ISO/FLUT settings on the top clip you will also be changing those settings on the bottom clip.
The only way I can see this working is if you duplicated the source R3D and imported it as a new piece of media, but even then I think you’ll run into trouble since name, reel name and TC will be the same.
I know people have been asking for RED settings to be made “versionable” so that you could set different settings for different parts of the clip.roman hankewycz
harbor film company // colorist -
David,
I’m testing the 5D to AVID to Resolve workflow myself and have the same problems. Will let you know if I come up with something.roman hankewycz
harbor film company // colorist -
Are the clips you’re having trouble with multicam clips by any chance?
roman hankewycz
harbor film company // colorist -
I’m curious to know if the clips you were having issues with were multi-cam clips. I’ve noticed that Resolve incorrectly reads the start and end TC of multi-cam clips from FCP and I’m wondering if the same is true for AVID.
In FCP I’ve had to re-edit all multicam clips using the original master clips to get everything over to Resolve correctly.
roman hankewycz
harbor film company // colorist