1) Move clips to the lowest track in edit

 

This will ensures a minimum of confusion in the color session, and avoids unintended duplicate grades.

 

 

2) Remove all non-color session cilps

 

Remove any clips that are not destined for color correction, such as titles, graphics, etc...

 

 

3) Split long-form projects into @ 20 minute reels

 

Though this was originally required for film, it provides a manageable structure for the grading sessions.

 

 

4) Deliver only supported Media Files

 

List of supported file types - if not on this list please transcode to Prores4444 or DNxHD 10bit Quicktime or MXF

 

Red (.R3D)

Arriraw

Phantome (.cine)

Canon C series (.mxf)

DPX 8,10,12 bit

TIFF 8, 16bit

OpenEXR 16bit half float (only RGBA channels)

MXF DNxHD

 

Quicktime (following codecs only):

Prores all variants

DNxHD all variants

Cineform all variants

h.264

AJA & Blackmagic uncompressed

raw / none

 

 

5) Create offline reference movie

 

This will be critical during the conform process, to ensure that every frame is identical to the approved edit.  Please use the same sequence / timeline used to export the XML/AAF/EDL with identical in point and duration

 

 

6) Effects from offline to online

 

Only some effects will translate from an offline NLE edit to an online DaVinci Resolve color session.  These are as follows:

 

FCP / Premiere Pro XML:

Composite modes

Multiple tracks

Transitions

Opacity Settings

Position / Scale / Rotation

Linear & Variable Speed Effects

 

 

Avid AAF:

Multiple tracks

Transitions

Opacity settings

Position / Scale / Rotation

Linear & Variable Speed Effects

 

 

EDL:

Transitions

Linear Speed Effects

 

 

Common NLE effects that must be handled as VFX or post-grade conform:

 

Freeze Frames / Long duration stills

Timewarps

Extreme blow ups

Greenscreen / Bluescreen composites

Picture in Picture effects

Titles, Credits, Lower Thirds text & Graphics