Avid MC 4K Finish Workflow

[MichaelP]

It all depends on the type of finishing that needs to be done. I have certainly conformed and assisted DI for feature films where VFX and graphics are handed back as DPX and for the most part, everything in the timeline is a straight cut. DI based systems are getting better (but still have a ways to go) to conform more complex timelines that have layers, nested FX as well as support for the myriad pf plug-ins used. So it is really on the production to understand what will work best for them based on deliverables and complexity of sequence and plan accordingly. If the derivable is a 2K+ request, then tools like Resolve, Baselight, Assimilate, for DI as well as Avid DS and Smoke can be used. I am finding myself going to smoke when I know that VFX and editorial have a chance of continued change. I use Resolve for deep color correction and control and in some cases export from there back into Avid for HD finish or into Smoke for 2K+. It's a matter of looking at the tools at hand.

Michael

 

[Jeremy Torrie]

Any solution for titles created in Marquee that one might want to promote in their 4K online? I'm in 6.0.3 in Symphony Nitris and if I try to export a given file or "save as" Marquee crashes -and these are animated titles. Any ideas, or will my colorist also have to take on the titling from scratch?

 

[Peter Proniewicz-Brooks]

Since I have never used Resolve I think I will check out the lite version just to see how it works before I buy it. Thanks for the info.

The big thing to setting up a resolve project is frame rate. Once media is ingested into a project then the projects frame rate cannot be changed. There are about 4 places you need to set it in the options. If you always work in one base frame rate then setting the default projects settings to it is fine. I recall using an XML to import the footage as well as conform sets the frame rate up, (i always do so manually first), EDL can't be used in that way.

Lite's main restrictions are;

only one GPU

SD resolution only.

No noise reduction

no 3D stereo,

no remote grading (if you have two near identical resolve set ups, both with the footage and project, then you can connect over Internet and have the input on one control both machines, I believe that for much of the Prometheous grade the director and colourist were on opposite sides of the Atlantic).

 

[M Most]

Lite's main restrictions are;

only one GPU

SD resolution only.....

I think you mean HD only (as opposed to anything larger, like 2K or 4K, both possible in full Resolve).

no remote grading (if you have two near identical resolve set ups, both with the footage and project, then you can connect over Internet and have the input on one control both machines, I believe that for much of the Prometheous grade the director and colourist were on opposite sides of the Atlantic).

Your point about Lite not allowing remote grading is true. However, your example of Prometheus is not a good example, as that was not handled using Resolve remote grading. I believe it was done via a very high quality (and high bandwidth) digital connection that allowed remote viewing of the image created in the other facility, with very low latency to allow for an interactive feel. That kind of setup has been somewhat common practice on high end projects for a few years now, provided by various companies (Company 3, Efilm, and Technicolor are all set up to do this). It is even done on some television productions (we did it on Once Upon A Time last season, a practice they have continued this season, to allow direct review of the final color, done in Burbank, by the executive producer who is on location in Vancouver). The advantage of the Resolve approach is that it only requires a low bandwidth connection, as you are only sending settings over the connection, not images. The down side is that it requires that all of the material be in both locations, and it requires full Resolve setups in both locations, with the project pre-loaded prior to starting the session. That is often not a problem, but it's got some limitations on long form projects when last minute changes are part of the equation (as they often are on visual effect heavy TV shows).