DaVinci Resolve 17 Deliver to Sound - Pro Tools

so in this video we're going to look at exporting for post-production sound specifically using davinci resolve i have this basic project here i'm going to just show you a couple of tips that is useful when delivering to someone in post-production so it makes it easier for workflow and just to make sure that you're in sync and it's professional across the board so first is my edit here one thing that is helpful for sound is when you're doing your edit is if you pay attention to here is to have this checkerboard type of uh audio editing this is that each character in the film and each individual will have its own unique track with the audio already spliced up so you can work on each individual section as an audio clip like this when i started this project you may notice i started right at the time code of one hour zero minutes zero seconds and zero frames is not good for post-production workflows because we need more time before for syncing and other information before you start doing this is to set up time lines that are already pre created with the appropriate time code settings in your preferences under user and inside of editing so this is under a user setting inside editing you can set the start time code for any new timeline that means when you create a new timeline this is the start time code and this is number of videos number of audit tracks etc for broadcast and sometimes for post sound mixing we are actually leaving an entire minute and a half of space before the first frame of action in this case if you needed to adjust this you can simply just type in the numbers 0 0 58 30 and zero frames in it means every new time that i do is going to be at this but in my case here as you can see i need to actually make adjustment to my current timeline this you can do by selecting the timeline you're in you can right click in it and under timeline you have starting time code now i need to select starting time code 58 30. it gives me one minute and 30 seconds before the film starts you'll notice now that actually my my entire timeline is still at the beginning of this specific time frame so i want to set it at one hour in make a quick mark here on the timeline and call this star film or first frame of action put this as green done and i'm going to select all my clips and simply just drag all the contents to the beginning so this is my first frame of action now at one hour in while i'm here i'm also going to make another mark that's very useful for us go back two seconds if you hold down shift and go on the the arrow keys you can go back two seconds exactly we're going to do another mark this will be our to pop it's an indicator of when there's two seconds left and this is where you sync visuals with sound and while we're on the topic we are also going to go all the way to the end go to the last frame as you can see here this saw blade here is the last frame of the the timeline and i'm going to go back to one two put a mark here and call this tail pop so now we have a two pop marker a tail pop marker and we have a start of film marker inside of this we need to create one minute of bars and tones we need to create a slate or a title card that has information about the film the frame per second the director etc we also need to create a academy leader that contains the tupac so what we'll do is we'll create a new track we're going to close bars and slate my bars is for calibration inside of davinci resolve we also have generators here that you can select as generators for bars and that gives you this this should be exactly one minute of bars so i'm going to do an end mark here bars and and then i'm going to go from this location forward 10 seconds one two three 4 5 6 7 8 9 10 59 40 slate in this is the picture start so this is my count in or academy leader so now we have this we have to generate still the slate we have to generate the tone and also the tup and the tail pop we are first gonna just generate the tone inside of your fair light tab here we have an option to generate tone what we're going to do is create a new track in single mono track we're going to call this tone we can go to our tone track here and all the way on top where it says input or no input in this case we're going to change that to input we are coming to this patch input and output section of davinci resolve under the source source menu you actually have a system generator under that you have a few options oscillator noise beeps and time code we are going to use the oscillator option here you click on this you see how to get the highlighted white here and then we need a destination and we're going to select the tone track that i did here once both are selected you can see that it's in white and that's in a way you'll see a patch here i'm now going to patch this system generate input into the track and you see it became a darker here in it here and that means they're patched then under you have to be in the fairlight tab for this under the tone you have an r that means arm for record now you get this beautiful sound here i'm gonna lower this so this is your one kilohertz tone in this case you can change the oscillator by going to fairlight the fairlight menu select the test tone settings and inside here you should select the 1k tone and minus 20 db you can see that it's in minus 20 db if i hit record arm this here is corresponding to minus 20 db this is the tone we're going to record so now i'm going to record one minute of this so now we generated our tone now let's go to my tupa and just record a really quick blip of that right we just need this for one frame so now we've generated this i'm going to go into my edit page and trim this accordingly i'm back in my edit page and i can now see the clip itself and i'm going to make a clip here and i don't need this and here we have it wonderful so it cuts off at one minute let's go and trim my tube up we want this to be just one frame so i can make an a cut here delete that but i need it on all of my tracks all of my audio tracks i know it sounds excessive but as we export this to an aaf for pro tools it's essential that it's on all of the tracks it's easier so we know if something doesn't slide you can copy these instances right and then we can go to the end of our timeline because remember we put a tailpop we're going to go to our tailpop and insert that there so now we have a tail pop here and for the tail pop we also need to put a 2. so i'm going to quickly generate a text title on my slate and plonk it on there also just needs to be on frame long go to my inspector and this just needs to be a two and two make it a little bit bigger so now we know that's my two let's go back to the beginning part now so much work to set this up for post production but you can also think about this as being templates you probably have to generate this tone again you can keep these media files somewhere this is essential though to make sure that we're professional and we deliver something to our post sound crew that's easy and you're easily communicating we have everything organized and sorted out ahead of time we are now going to create our cue card here and there's our my slate in i'm going to put my text here so in this space from 40 to 50 i'm going to put in my text here it's going to have some basic information you can also create a template for this so you have a basic template every time you start working on a post product title my film total run time this would be the exact duration of the whole film and i believe that was one [Music] something like that date is today's dates november 3rd 2021 frames per second this is a 23.976 project resolution is 1920 by 1080 now aspect ratio which is 16x9 audio format is stereo sometimes you also want to do delivery or sample rates this is 48 kilohertz let's sample rate and 24 bit production my film llc director that's me so now you have parson tone one minute you have 10 seconds of a slug or nothing you have title card i'm going to fix the view of this so it looks like that it's a little neater and then we have two seconds of black academy leader that make sure that the 2 is perfectly synced with that you can go back it should be perfectly synced and then two seconds [Music] film starts double check that your tail pop is in that's it the other thing that we need to do now that's essential when you're working on a film project is to create a in time code that's a record time code of this timeline i will need to go then into my color here i will go into my workspace inside when i'm inside of the color page go to workspace and find data burn in data burn in you have many options here but your first one is record time code it is also very common to use the source time code from the clip itself i'm going to show you that too i did not have time code for this specific project but that's also something common they use a source time code that needs to be separate in this project though i'm only using my record time code make sure that you set the size for this that works for you i prefer it in in the lower middle but some some people like it to have um it other positions depends on the project but the most important part is to have a record time code so you can communicate with your director or production team and keep the font pretty standard don't go too crazy with the font it should be easy to read easy communicate and not too small and not too big something like this so now we have a record time code now we're basically ready to deliver so you can give this to a sound post sound person with time code just make sure that the time code is not in the way so you have to adjust now the size of your clip here so it's easy to read and you can move this up a little bit too you could also make the the time code a little bit smaller or but now we have time code throughout so i can start working and sending it off the next step that we're going to do is to go to my delivery page here and this is where we are doing two things i'm going to deliver a quicktime reference so your file name is going to be a video exported ask the person that you're doing sound for if they need a 1080 p meaning a larger file or if they're fine with a smaller file you can do something like this if they're you're not sure create one to give them one references hd make sure it's a single clip export audio as giving this to someone dealing with sound it's very it's great to have the audio in there include the audio you have the audio i believe is 24 and the file is going to go into the folder that you select so in this case is my fill delivery and inside of this i'm going to create a new folder and call this reference reference export i'm going to save it in there another follow-up to is make sure that codec that they're going to use works with this system h.264 it might be fine but if you're doing something like pro res make sure it's a proxy i'm going to add this to my render queue and now i'm also going to create an another reference 720p just so you have an option just make sure that the specs are correct and i'm going to add to the render queue as well the next thing you're going to do is make sure that you have a aaf file delivered to them so once we click on my film aaf i'm going to click on this make sure you don't need to export video but check the format so in case you do an aaf for avid it will create this mxf file if you do it for pro tools you will create wav files you can embed the audio inside of an af or inside of a folder if you ins do it inside of the af you'll get one large chunk and i'll show you what that looks like i'm going to add this to the render queue i'm going to separate this so i get a new file and that's why i'm putting in this location not reference media but af export open and now i'm going to send this to bandicue i have three jobs i'm going to select them all and i'm going to render all so you have to select them all hold down shift shift one two three render all the difference between avid and pro tools aaf it's avid af creates the op adam mxf files pro tools creates wav files render all let this do its magic we'll be right back so now we have completed the process and we're going to go out to our finder level in this example i would just want to show you the reference media that's appeared here i have the 720p clip here and i have my hd clip here so those you can use in your session for pro tools i also created two separate exports one is with the everything embedded into one large file it's this one here one large file the aaf and the other one is with the media separated and consolidated separate here so this is actually all the media associated with the project and that's the aaf now we're going to bring in this into pro tools with the reference file and i'm going to show you how you can start working it and syncing it in pro tools so we're going to open pro tools and you have a couple of ways to do this you can either import the source data or import the af directly you go to file you can open a session directly you can also do this from the workspace browser here in windows new workspace i'm selecting the aaf that i created i select open it's going to now tell me with this dashboard where you want to save this it needs to create the folder structure of pro tools make sure you have the correct sample rate and bit depth and you're going to create this project you will now see this import session data and they have some very important information that you need to be aware of you remember we set our start time at 58.30 zero zero so we have a minute and a half of the other things before the film starts make sure the time code format's correct here as well and that we are in an embedded embedded audio type i am actually in this case gonna import all of the audio i'm not gonna import the video not the video track and then make sure that you are importing the audio so we're going to click ok you're going to see this right now it needs to populate these clips the individual clips to actually generate the waveform cache so i have my information i am playing back correctly and it starts at 58 30. if for any reason you do not have this your session was set up in advance that you made a mistake you can change that in your session your session in your setup session command and the number pad too here you will see this window and the session start is where you need to make the adjustments you may also need to make the adjustment at the time code rate which is 23.976 this is depending on how your files were delivered for me if you do this beforehand and you're organized beforehand when you export the af this process is easier now when i have the project in it's already set up for me i do don't have the mark the markings from the session so you might need to do that for your own pro tools session the other thing that we need to do is import the video and i usually import the audio along with it just as a reference as a reference means i get the audio files as well so something that i usually check as well is making sure that my time code on my edit view here edit window and my timeline up here and the burnt in time code are all matching that's why this big counter is very useful it's command number pad or you can click here this way you can reference all of those different cues you had so if i go to my tup this should be 5958 as a burnt in time code as the time code for my film here as well so i can actually play then stop play and stop and get a sense make sure these are not drifting so now i know that at least it works in the beginning i know my beginning has the wonderful 1k tone and i can also check and reference this 1k tone in my metering on the pro tools and [Music] this is -20 db and that's what i'm listening for next let's go all the way to the end and check our tail pop it would not hurt to just kind of get a few reference spots make sure the time code as burnt in is exactly matching your session time code and now i'm going to play and that's our tail pop there and we are aligned as time code and on our grid here so these things are important to just make sure that we are on the same page our time code is referenced correctly and our session is set up

Channel: Post Production

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Id: ckhYWkRv7MA

Length: 25min 53sec (1553 seconds)

Published: Tue Nov 09 2021