Color Grading Docs, HDR Trims, NVMe Disks for Cache, and more!

October 15, 2022

In this Office Hours, a team of Mixing Light Contributors tackles member questions about estimating time for HDR trim passes - and much more!


Series

Office Hours: October 7, 2022

Mixing Light Contributors Joey D’Anna, Zeb Chadfield, and Jamie Dickinson join host Patrick Inhofer in leading a Mixing Light Office hours discussion. Today’s discussion includes:

  • What is the “Forward OOTF” option in CST?
  • How many hours would I need to do an HDR grade pass for a feature film?
  • How would you tackle a documentary series (8 Episodes) shot with several cameras?
  • What is the important metric for render-cache speed in hard drives?

Table of Contents

(bold = member question)

  • 00:00 – Introduction
  • 01:27 – What is the Forward OOTF Option in the Color Space Transform ResolveFX node?
  • 07:45 – Discussion about DaVinci YRGB Color Management’s transforms
  • 09:09 – How many days do we quote for a typical 100-minute feature film?
  • 15:15 – The Team discusses grading in a theater (and grading for theatrical)
  • 18:58 – How much time does it take to do an HDR trim pass?
  • 28:57 – What about analyzing a grayscale ramp to generate Dolby Trims and cutting-pasting the grayscale results across an entire timeline?
  • 35:38 – Is there a market for HDR/Dolby Vision mastering after the initial color grade?
  • 40:43 – How do you approach a 3-4 camera documentary series where your only source material is the rendered ProRes444 picture lock?
  • 48:30- From DaVinci Resolve, can you export the source file name comment in an EDL?
  • 49:03 – What is the important metric for render speed in regard to hard drives?

Mentioned in this Insight:

In the order they were released, here are the three related Insights about color grading single clip exports mentioned in this Insight:


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Comments

Homepage Forums How To Professionally Work Between Multiple Editing Platforms

Viewing 2 reply threads

    • Stephen A
      Participant

      Thanks for the office hours!

      @Joey — for caching to your NAS, are you using 10 GbE, or faster networking? I’m in the same boat — juggling 2 or 3 systems to speed up my work, and right now local caching with media on the other side of a 10 GbE pipe to the NAS…


      • Joey D’Anna
        Participant

        Yup everything is 10GbE with jumbo frames.

        In fact – its all link aggregated into the switch, so the NAS has 4x10gbe links, and both workstations have 2 each.

        One important thing to know about that though – having a 4-way link aggregation does NOT give you 40gbs. Any individual transfer will still be limited to 10gbps. But with 2 machines hitting the NAS for thousands of cache files, it does help a bit.


        • Stephen A
          Participant

          Thanks, Joey. Good to know it’s viable at max throughput of 10Gbps. I’ve yet to pony up for a link-aggregation-capable switch, so it’s a ‘single-width’ link to the NAS for now. Any recommendations for such a switch that might not break the bank? There’s a Mikrotik 8-port, perhaps?


    • Antonino D
      Participant

      Thanks guys for another useful OHs!!!

      I will definitely check those video you mentioned and I am sure I will find something good there. About my approach for anyone into the same kind of “head ache” project, I solved it by asking to the editor to used the Premiere FX Clip Name which will burn the name footage (then I asked them which camera was referring to that name..for each camera used), in this way using Group I could put in place IDT and ODT.

      until the next time!


      • Robbie Carman
        Participant

        we’ve done this too – it is a great help.  In projects where a conform is going to be too complicated or there isn’t a budget for it, editors have split different cameras onto different tracks and then baked each of those out as separate QTs.

        Patrick has a nifty approach to this to that he shared in an Insight a while back – https://mixinglight.com/color-grading-tutorials/color-managed-flat-file-workflow/


    • Jamie Dickinson
      Participant

      @Joey – could you confirm what settings you’ve used to successfully export an AAF for ProTools? I’ve tried only a couple of times and it’s not worked – I even tested exporting and importing right back into Resolve  and that failed. Any tips? Thanks!

      [53:38 – Joey offers advice on ProTools delivery from Resolve (and finishing, in general)]


      • Joey D’Anna
        Participant

        I’ve been using the protools preset – and then just changing the AAF settings under audio to “embedded in AAF” instead of wav. Not sure what version of protools our guys are on – but it seems to work great for them.


        • Jamie Dickinson
          Participant

          OK, thanks, good to know.

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