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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?

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.

Comments

Homepage › Forums › How To Professionally Work Between Multiple Editing Platforms

• 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.
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