We could immediately see what was captured on set, with synchronized audio, which was a huge help to the entire creative process, not just editorial.”. “Mike had lengthy conversations about the use of the color red.
EFILM Color Assistant Joel McWilliams was also highly involved in the color finish of “Brightburn.” He ran every VFX review, often applying color that Paulson had created, or temporary power windows, and playing with luminance to see how much latitude they would have in the DI. We didn’t have to do any transcoding, which saved us a ton of time.”. See what happens if you upload in batches versus all at once, or if the uploads stall out and have to be restarted with connection disruptions. I decided that I’d have the production team upload the C300’s tiny, in-camera dailies after each shoot day, bring them into Resolve, sync with the click of a button, and transcode to 2K ProRes Proxy dailies to use in the edit.
4k, 8k, SDR, HDR, ACES, don't worry we've got you covered. Playback wasn’t a deal-breaker, but it wasn’t perfect either. If you’re shooting in 4K, you’ll likely want your dailies to fall somewhere in the 2K to HD range, unless your project is very short or your internet connection extremely fast. They shot on a pair of 8K RED Helium cameras, and there are no available off-the-shelf solutions to handling the massive size of the footage, while also being fast and light enough to run on the mobile computers the team is using. If you’re only delivering to the editor, then you have a bit more flexibility.
Thursday, September 10, ▶️ Colour Online: Daylight, operación y automatización de flujos de trabajo. Televisual: Film 40 ... will be demonstrating its new Baselight DAILIES solution and complete digital dailies workflow in a real-world implementation at Expo Cine, Video y Televisión 2014 (AMTEC stand A-1, Mexico World Trade Center, 03 – 06 June 2014). This meant that full-resolution 8K video files were ready for editing minutes after a card was pulled from a camera. In order to maximize the number of files they could keep in the cloud at once, Patrick’s team created a custom export preset in Compressor that reduced the resolution and data rate of the files. While it’s really not necessary to have a lighting fast internet connection to take advantage of uploading dailies (though it helps! Instead we kept the visuals more realistic and used the color finish to amplify the how the color red appears on screen.”. show you how it actually works. On RED projects, I usually request 1920×1080 ProRes Proxy or ProRes422 as the in-camera proxy format, knowing that I’ll use these files for dailies. Since the scratch track was reliable enough in this case, we were fine with sharing the unsynced footage straight from the camera, and were able to create custom dailies links within Frame.io (using Presentation Pages) to share with our producers in LA. This can be passed to editorial using Baselight for Avid or Baselight for FCP 7, and also to VFX, using the new Baselight for NUKE solution. Sound off below about how you’d conquer this unique remote workflow, I’d love to hear your ideas! As you read through and digest these workflow puzzle pieces, consider how changing one might affect the others. This can be a huge time-saver because it can allow you to skip the next step, transcoding dailies.
Because even when you’re in the same city, delivering dailies digitally can save time, money, and hard drive space, with the added benefit of allowing you to share dailies and easily collaborate with your team.
Syncing is so fast and easy in Resolve, that in some scenarios (I describe one below), it’s worth re-exporting your footage even if you don’t have to transcode for the edit!
Read More > Video Playback and equipment hire for all your onset needs. This approach helped Yarovesky optimize his time with Paulson during color sessions and for Paulson to focus his efforts on finer tweaks; McWilliams would often be working in a separate room concurrently with Paulson to expedite the finish. “It’s great to see that a tradition based on film has taken on a new life with digital video production,” Patrick says. Of course, exceptions are always possible: e.g. Patrick and his team are currently working on the indie feature film, Faith Based, a comedy by filmmaking duo Vincent Masciale and Luke Barnett.
The goal is to release 2-minute webisodes every other day for a total of 7 episodes in a two-week period. After everything was synced, the editorial team started the process of delivering dailies to the director and production crew.
Yet, we’re using a remote dailies workflow and delivering each shoot-day’s footage digitally. Upload some files to your chosen dailies server and time how long it takes.
Dailies color for the film, which was captured with ALEXA Mini and ALEXA SXT digital cameras in Georgia was handled by EC3 Colorist Marc Lulkin out of the company’s Atlanta office, the first step of an efficient end-to-end color workflow done through Deluxe. In our case, the proxies were set as 2K h.264 files wrapped in an .mfx because our shooting resolution was 4K.
So how do you design a workflow best suited for your project? As we’ve noted, 8K files are enormous. This month, I’m editing an independent feature film that’s shooting in New York. Also announced at NAB2014, Baselight for NUKE gives VFX artists the ability to accurately preview fully graded shots, resulting in better compositing control while alleviating the need for additional amends due to changes made in colour correction. Both primary VFX vendor Trixter, which handled 181 shots, and Tempest, which handled 93 shots, were provided footage debayered to 16-bit EXR at 2880×2160 native resolution, and returned shots in the same format to Paulson. Thursday, July 09, ▶️ Colour Online: Daylight – Les nouvelles fonctionnalités en français 25 Juin, Colour Online: Delivering Dailies with Daylight – in English 18 June / en français 25 Juin, Berlin Film Festival winners finished with Baselight, FilmLight teams up with ARRI in Paris creative community. But it was the ability to review dailies on set that really proved the value of this new workflow. In-Camera Proxies: Yes.