dailies created in Resolve?

New Here ,
May 10, 2021 May 10, 2021

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Hello, I am a DIT and have been running into some issues with a client using Premiere Pro (15) and receiving my dailies created in Resolve (16.2.8).  The first issue, is somehow 1080P is not acceptable resolution based on their specs (see below). They want their dailies to be a fractional value (quarter) of the Original Camera Negative. So today, we are shooting the Venice at 6K 17:9 (6054x3192) and we are providing dailies at 1/3 resolution (2018x1064), because quarter creates some weird math. The second problem is audio channels generated in camera have to match the total number in the dailies. If I sync multitrack audio from a sound mixer in Resolve that creates a problem for them. The Venice always records 4 tracks, but sound recorder tracks can vary from one boom, to mulitple actors with Lavs ... Please advise. Thanks!

 

Note from Editor:
We'd like the DIT to focus on is the sizing & audio channels information from the document. We need the proxy's aspect ratio to be proportional to the raw files (see doc for specifics). Last time they weren't so we had to spend a day making new proxies after the drive arrived. 
 

Proxy Requirements

Files should be:

  • Quicktime - Apple ProRes 422 Proxy

  • Proportionally scaled down resolution to full res files (no black bars)

  • Same number of audio tracks as RAW files

  • Maintain frame rate, timecode, etc.

  • No LUT baked in

    • Can be applied as a master clip effect that can be toggled on/off

    • Can be sent separately as a file

      Ideal process:

  • Bring RAW files into Premiere

  • Highlight footage, right click, Proxy, Create Proxies

  • Use Low ProRes Proxy setting

  • Set destination location to a separate proxy folder through either option

  • Transcode

  • (Not required, remove file name additions such as "_Proxy" so proxy files

    match original file names)

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Adobe Community Professional ,
May 10, 2021 May 10, 2021

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Under their system, I would expect to deliver the sound files from the external recorder as separate audio files. Which would then be synced via Multicam process in PrPro very quickly.

 

Premiere doesn't 'take' proxies with different audio from the original media it's a "proxy" for. While for many purposes like this it would be nice if we had a user override for that, we don't.

 

So if you simply make proxy files from the original media and provide the separate audio files in the package, it would work in PrPro easier than trying to juke around adding extra audio to the proxies. It's not saving time or work.

 

Neil

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New Here ,
May 10, 2021 May 10, 2021

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Thank you for your quick reply. Can you help me with the "proportional" proxy sizes?

 

If we are shooting 5952 x 3140 on the C500 MK2, then here are the proposed "proportional" proxy sizes via my calculator:
 
1/2 = 2976 x 1570
1/3 = 1984 x 1046.666667 (round up to 1047? But, resolve throughs up an error that I can't have odd and even numbers in resolution, it either/or, so round up to 1048?)
1/4 = 1488 x 785 (Same as above, Resolve says you can't have odd and even numbers in resolution, it either/or so 786?)
 
Using an online resolution calculator, it suggests the following sizes: 
2976 x 1570
1488 x 785
 
Which resolution size works best for proxy workflow in PP?

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Adobe Community Professional ,
May 10, 2021 May 10, 2021

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Which works best ... well, closest to aspect ratio of course. Then depending on the system, frame size has some influence on playback, but only is a problem on weaker systems.

 

In general it's best to avoid odd numbers in frame-sizes. I can't remember if ProRes "wants" to be divisible by four, but I know some codecs have 'rules' like that for usable framesizes.

 

Neil

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