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

Series	Office Hours

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?

(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:

Working Color-Managed In A Flat File Workflow – Patrick’s Insight mentioned at 45:20: “Learn how to tag a single clip with multiple ‘input color spaces’ in DaVinci Resolve when executing a ‘flat file’/preconformed workflow.”
Color Management For Preconformed Workflows With EDL Clip Names – Joey’s Insight: Using Resolve’s Edit Index and EDL comments, you can prepare a preconformed timeline for color management much easier than you think.
Colour Space Detective for Flat File Workflows – More Tips and Tricks – Jamie’s Insight: “Learn how to tag a single clip with multiple ‘input color spaces’ in DaVinci Resolve when executing a ‘flat file’/preconformed workflow.”
Insight Series: DaVinci Resolve’s “Pre-Conformed Workflow” – All three Insights are included in this ongoing series of Insights with tips, tricks, and approaches to color grading from a single rendered exported clip.

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Comments

Creator

Discussion
September 28, 2022 at 1:17 pm #46979

Patrick Inhofer
Keymaster

This is the discussion thread for the Insight: How To Professionally Work Between Multiple Editing Platforms
Creator

Discussion

Stephen Abbott
Member

October 16, 2022 at 6:16 am

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
  Member
  
  October 17, 2022 at 9:11 am
  
  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 Abbott
    Member
    
    October 24, 2022 at 3:44 pm
    
    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 Durante
Member

October 17, 2022 at 5:13 am

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
  Member
  
  October 17, 2022 at 7:44 pm
  
  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/
  
  Working Color-Managed In A Flat File Workflow
Jamie Dickinson
Member

November 17, 2022 at 4:37 am

@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
  Member
  
  November 17, 2022 at 12:06 pm
  
  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
    Member
    
    November 17, 2022 at 12:07 pm
    
    OK, thanks, good to know.
Author

Replies

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

Office Hours: October 7, 2022

Table of Contents

Mentioned in this Insight:

Member Content

Member Login

Comments

Patrick Inhofer

Jamie Dickinson

Zeb Chadfield

Joey D'Anna

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

How To Professionally Work Between Multiple Editing Platforms

The Care And Feeding Of A Post Production YouTube Channel

Remote Media Sharing and Collaboration – Featuring Hedge’s Postlab

How do colorists extend the life of old computers? Becoming a Mixing Light Contributor?

Charting Gamma Curves, Revisiting REC-709a, and Premiere Pro 2022 Color Management

Streaming Dolby Vision, REC-709a, And Consumer OLED Displays

Talking Professional Reference Displays with Bram Desmet of Flanders Scientific

How Do You Succeed Running A Color Grading Business?

Evaluating Skin Tones, Working With Drone Footage, Grading On Laptops

Good Ideas? The HDR Palette One Year Later & Selling Your Project Files

NAS, Security, Archival Footage, and HDR – An Office Hours Discussion

Office Hours Live Stream – Color Management (and much more)

1,000+ Tutorials to Explore

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

Office Hours: October 7, 2022

Table of Contents

Mentioned in this Insight:

Member Content

Member Login

Comments

Patrick Inhofer

Jamie Dickinson

Zeb Chadfield

Joey D'Anna

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

How To Professionally Work Between Multiple Editing Platforms

The Care And Feeding Of A Post Production YouTube Channel

Remote Media Sharing and Collaboration – Featuring Hedge’s Postlab

How do colorists extend the life of old computers? Becoming a Mixing Light Contributor?

Charting Gamma Curves, Revisiting REC-709a, and Premiere Pro 2022 Color Management

Streaming Dolby Vision, REC-709a, And Consumer OLED Displays

Talking Professional Reference Displays with Bram Desmet of Flanders Scientific

How Do You Succeed Running A Color Grading Business?

Evaluating Skin Tones, Working With Drone Footage, Grading On Laptops

Good Ideas? The HDR Palette One Year Later & Selling Your Project Files

NAS, Security, Archival Footage, and HDR – An Office Hours Discussion

Office Hours Live Stream – Color Management (and much more)

1,000+ Tutorials to Explore

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