Avid to Resolve-Conform for Color- Feirstein Graduate School of Cinema

the first thing we have to do is make an offline reference clip so you all you need for this is your video you just need a timeline of your video and we just go to output export file sent QuickTime movie check your options you don't need to use marks unless you're marking off a specific region of your timeline that you're using you want to use same as source but not necessarily avid codecs choose the correct aspect ratio for your project use these as you see fit and make sure you're set to video and audio and save choose where you're saving it title it appropriately once that export is finished the next thing you want to do is go through the same menu output export to file but now you want to make an AAF this option here it says - Pro Tools we're gonna be going to resolve it doesn't matter you're just making an AAF same like I said go into this menu make sure you're set to AAF include good you don't need audio for this it's just for color so all we're worried about is video you want your video effects rendered because resolve is pretty good with including those yep save it a F so we know we're good once that's all good we're fine to quit out of Media Composer open resolve create a new project when we start resolver in the Edit window just want to bounce back to media then go to file import AF boom you can change your timeline name here I'm just going to leave it this for now automatically import source clips that's important also important is ignore file extensions because you're probably editing on either dot MOV files or dot mxf files checking this will tell resolve that you know so long as the source name is okay it's okay to look for an r 3d file I'm not so sure about this doesn't hurt to check it it probably does more or less the same thing and use sizing information is great if you did any punch ins in your edit or any kind of reframing it'll be pretty good about keeping what you did and that'll make it so that the conform isn't as tedious click OK we choose where our raw media is mine is right here this is the root folder and as you can see the individual days are there but we can just choose the root folder that has your AWS and it's gonna take a little bit to look through that because you know raw footage is heavy then look at that like a miracle here they are our wonderful clips now it's possible that you might go through this process and get media offline even if you do get media offline you'll most likely get your timeline intact and so what I would recommend you do then is just go to your raw media in the media window and just right click add folder and subfolders into media pool and then it'll pull everything in and most likely it'll just relink once you have your media in the resolved projects it'll just kind of fill in the timeline it'll fill in the blanks resolve is smart like that once we're here you just want to go oh right ha you want to go to your offline reference that you exported and add as offline reference clip it'll bring it in to your media pool with this little cool checkered flag that's the icon for offline reference now what you want to do is I'm gonna set just like this you go to your timeline in your edit bin and go to timelines link offline reference clip and now I'm just gonna make this window a bit smaller we just need to set this to offline and if everything is well and good the two should match and you can just kind of check through your video go frame by frame go over every clip and make sure it's right now you might come to a clip this one for example you can see it's not a perfect match we'll just take our clip look at it in the inspector up here and what we'll do is a mix wipe that way we can see okay so I'm missing some information at the top and bottom it's probably my cropping here I guess some cropping information carried over from the Edit but linking back to the raw that doesn't seem important so we'll just get rid of this but it looks like we did too much because it still doesn't match and I have a suspicion no looks like some clips or just like this so some of our clips have bars that match some of them fill the whole frame so what we'll do is I'll take this into the color window go here to my sizing output sizing and we just have to kind of eyeball it and figure out how we're gonna reframe this and what we can do is that we consider a reference mounted timeline mm-hm offline I think is what we want there we go so what it was reference mode offline mix we've got to make sure that this is selected so now we can see where we need to bring our lines so you can just kind of do it by eye looks like 30 is the sweet spot there then maybe we can intuit 10:50 who's gonna be right there and then this will just affect the entire timeline so all right now this shot so you look at it in our inspector and yet we just have to fix the crop on the top and bottom looks like it's kind of like that for a couple of these clips so at this point it's really just going through each clip checking with your mix wipe or difference is another way to do it so you can see here we're not perfect you'll always have small imperfections like this for example this is a shot that in the Edit I did a zoom in on so excuse the playback it's not great but as you can see it's slightly different from the offline reference but not enough that it's you know really a problem and so to finish your conform you just wanna make sure that everything is you know right enough as right as it needs to be and you can adjust things with the zoom here in the inspector as you can see if something's off it'll look like this and give them this crazy look at one so you know there we go the position is off things like this you know the rotation maybe and then once that's done what you can do is um say you want your media for color correction on a dedicated drive what you can do is go to file media management and then copy a timeline you select the timeline you want to copy this is my AAF timeline and you want to copy and trim used media now you can keep frame handles this is um so if you have 0 it's just you get what you get in the timeline and that's it but say you put 24 frame handles as you can see it bumps up the size but it makes it so that on either end of each of these clips you could drag them out one second so what I would recommend depending on what kind of storage capacity you have would be 48 frame handles that we have 2 seconds on either side so if you're working on the color correction and you know you're at the end of your post-production process but you you know you're working with the director and they say oh actually can we finagle this like a frame or two you have the space to you know make some late-game decisions that don't affect a whole lot of things further back in the pipeline now as you can see the current size 48 point 8 gigabytes what that refers to is just um all of these individual clips that are not cut down seen in the timeline everything is cut down and this current size refers to all of it outside of on the new size at zero frame handles that's showing you um just what you have in the time line that media specifically with those in and out points and everything there's only five gigabytes and then when you include two seconds on either end it bumps it up quite a bit but you know it's useful to have if you can afford it and then more options relink to new files that'll make it so that your projects with AF the link everything is just connected to those new media managed files so that way you don't need your RAW drive anymore you can just work off of a dedicated colored hard drive and that's it then you're ready to go coloring you know make everything pink

Channel: Post Production

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Id: tmLdFx3Qocs

Length: 13min 47sec (827 seconds)

Published: Mon Apr 09 2018