Using Compound Clips For Dolby Vision Revisions & IMF Delivery

June 1, 2022

Learn an advanced compound timeline use-case for Dolby Vision deliverables - without ever rendering & replacing the original HDR timeline.


Compound Clips Part 2: Advanced Finishing Workflows For HDR and Dolby Vision

If you deliver to major streaming services, then your workflow involves Dolby Vision and IMF deliverables. The problem is that no edit is ever truly ‘locked’, and changes can come up at any time! The cumbersome render-the-timeline-and-reimport workflows, which are common because of how Dolby Vision trim analysis is performed, are prohibitive in turning around this sort of work fast enough.

Optimizing your Dolby Vision workflow for last-moment revisions

At The Finish Line, we mostly work on long-form documentary films, and series, and Dolby Vision deliverables are a way of life. Through necessity, we’ve learned that working on camera originals and keeping the timeline ‘live’ throughout the delivery process allows us to meet crazy deadlines with minimal mistakes.

Using the workflow in this Insight, you gain maximum flexibility in the Dolby Vision SDR trim process. This approach extends to IMF outputs, which are simple even when creating additional assets like textless supplemental deliverables – again, without ever rendering and re-importing.

If you are experienced in these workflows, you’ll find this Insight easy to follow. If the notion of Doby Vision trims and IMF deliverables is new to you – you may need to watch this a few times to understand what’s happening.

Learning Goals

What are the specifics that you should learn from this Insight?

  • How to force Resolve to Scene Cut Detect a compound clip
  • How to prepare a compound HDR timeline for the Dolby Vision SDR trim pass
  • Once completed, how to make changes to the HDR timeline and have them trickle through and update your SDR trim
  • How do deal with creating a Textless supplemental and keep all metadata and pictures consistent

Related Insights

– Zeb

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