Auto Sync Audio via Timecode in Resolve 12

Rich Roddman Oct 8, 2015

  1. The longer you make it about "union" the more you miss the point. Anyone can accept or reject a job offer, so if you don't like the conditions of employment, don't take the job. As for location work, for the most part, companies like Tech and Deluxe often send personnel from home base when the production is in a location that isn't a real production center because quite frankly, things like "qualified dailies colorists" simply don't exist in places like Dallas, Charleston, Bogota, and Bulgaria. So the only way to satisfy the studio's need for an operator with a significant resume (and yes, on studio shows, we and others often need to submit resumes and get studio approval for dailies colorists) is to send one from L.A., or New York, or another major production center, so that they already know how to operate the specific system being used, know how to deal with both production and studio personnel, and more importantly, can handle the many tasks required without on site training. Those that are good are kept going, regardless of where the particular production is shooting, because it's in both the post company and the studio's best interests to know that things will be handled properly, as there's a lot of money on the line. We, and other companies, do have people in the major production cities (Atlanta and New Orleans come to mind) who are locals that have been trained over the course of a number of shows, usually starting off as an assistant with one of the "regulars" from L.A., and moved up to be a lead operator over time - just as it has been done in the facilities themselves for many years. And even in those situations, a number of those who are now "locals" spent time working in Los Angeles prior to moving to their current home city.

    Being a union member is an individual choice based on the type of work you want to do. If you want to work on studio productions in a production capacity, you need to be a union member because effectively all of those shows are union signatories. Deluxe, Technicolor, Bling, Sixteen 19, and a number of other post/dailies providers are not. The union is not "universal" throughout the industry and you should not be expecting them to protect you or provide benefits unless you choose to work for a signatory company because that's the way it works. Another part of the way it works is that for the most part, when significant sized production shoot in places like Dallas or Austin (or Atlanta or New Orleans, for that matter) they're doing it in large part because your state government is giving them money to do so. There is no intent on building any permanent infrastructure, and therefore no intent on building up a permanent employment base. Those are the conditions of the modern incentive driven world of production. So if you want more permanence in your employment, you need to understand the temporary nature of production in places other than Los Angeles, New York, London, Atlanta, Toronto, and Vancouver. If you're anywhere outside of those production centers, you're there by choice and you should understand the conditions involved. And union representation has nothing to do with any of what you're complaining about.
     
  2. Fine.
    Your perspective and beliefs are clear, so let's cordially and professionally agree to disagree.

    Returning to the subject of this thread, does Resolve 12 have a clap-detection type feature a la Scratch or Cortex? That is, if the cameras aren't jammed is there a way to approximate auto sync? Also, since even jam sync if often off by at least a frame or two, is it possible to slip it quickly, or must one do it manually by opening the audio clip attributes and typing in the TC?
     
  3. That's very true. Technicolor digital employees looked into joining the union twice -- once in the early 1990s, once around 2000 -- but fear stopped them from holding the elections. There are pros and cons with any union, but I think in this case, it would've benefitted the employees in the long run.

    Yes, pp. 243-246 of the Resolve 12.5 manual.
     
  4. Ah ha! Thanks Marc. The nature of the show I'm about to start requires dailies colour to be accomplished in Resolve, but the feeling is that Express Dailies is more efficient in terms of syncing and so forth. Looks like some keyboard macros could make Resolve mimic a few of the single-keystroke actions of EXD....
     
  5. Express Dailies is a very good package, and it's extremely flexible in terms of delivering multiple versions with different kinds of embedded timecode and fonts and so on. I would say that's a better way to go for more complex situations.
     
  6. Syncing offline material and coloring them as well as creating dailies should be done on set if possible.

    As a DIT in Montreal we usually do :

    -Transfering Data on set/near set. Usually on a cart on in the camera truck
    -Creating color matched offline edit media (I do it with resolve)
    -If there is Color grading done on set with livegrade the job is usually split between a DIT and a Data Wrangler.
    -on the next day in the morning, syncing and organizing media in Avid or the NLE it will be edit on. I then prepare travel drive withs MXF media and avid Bins for editorial delivery during the day. If the Edit team needs to have all the material at the end of the day, we usually offload the sound as often as the camera to sync during the day of the shoot, and not on the next day.
    -Producing dailies from synced offline material and uploading them on the viewing network or USB key etc.

    I think that this a major time saving worlflow, specially for TV shows as I often do, when the airing of the episodes is really close to the shootings. But there are this discussion as the assistant editor "losing a part of is paid time" to the DIT. I Personnaly think that the job evolves, like anything else, and people needs to ajust acording to the constant evolution of this job.
     
    Julian Martinz likes this.
  7. The job evolves, but so does the reality of what we're dealing with. That reality being much bigger data sizes (not so much on HD Prores shows, but very much so on Arriraw, F55, Panasonic V-Raw, Arri65, you name it), particularly on features, and much more footage being shot than we ever had on film. At this point in time, the bottleneck isn't so much in processing proxies for editorial and viewing (although on a big data show, it's practically impossible to get the last cards of the day processed unless production is willing to keep the gennies going for another hour or two), but in archiving the data. On some shows (Marvel shows come to mind) the LTO archives are done on multiple Codex Vaults, which is one solution, but one that involves more costs and different personnel responsibilities. Not to mention that during a production day, the DIT should be paying attention to what's going on in the camera department, not processing dailies, creating Avid bins, writing LTO tapes, and creating dailies reports. I'm very aware that there are shows that work the way you're describing, but it's very rare that a large feature or a large television drama can work that way because of the time involved to do it to the studios' satisfaction. Unless and until we get bigger and much faster archival formats (LTO7 will help), the turnaround time required for writing and verifying archival copies is just too long to allow completion by the production unit, unless production carries multiple LTO backup systems (one per camera at the minimum, but even that is not always enough).

    Personally, I think it's a good thing to have a different team doing the dailies/archiving/uploading chores, for many of the same reasons I think it's good to have an editor who is not also the director. Proper focus gets things done a lot more reliably and efficiently than split focus, and allows for hours to be used that are not contested, as well as an environment that is proper for the work being done. The time savings to which you refer is only relevant if you happen to have an editorial department that is working graveyard shift hours. If they're not, they'll start on the material the next morning - which is exactly the same turnaround as they get with a near set or facility approach, except that with the latter, they'll have all of the previous day's material, including the last cards of the day. One reason why a number of DP's don't like to use live grading is because they find it distracting. Others disagree. Horses for courses, as they say.
     
    Marc Wielage likes this.
  8. It's the tool of choice, but the DP is very specific about wanting Resolve - either because he's very familiar with it or because of this film grain thing he wants - so there's talk of a sort of Resolve/EXD hybrid workflow. I'm of the mind that simpler is better, so I'm researching how to use Resolve in a way that at least gets close to those areas in which EXD might be stronger. Deliverables are pretty simple - just Avid and Pix as far as far as I know - so that's nice...
     
  9. Of course if there is a DIT doing color on set, the data wrangler will do transcode, dailies etc. I just wanted to pinpoint the fact that I think it's more effective to have to most done on set (as possible, of course a 3 camera shooting RAW on a movie can be hard to acheive all on set).

    And I undertstand that major shootings have dailies colorist specialist in post house, but there are a lot of other shoots going on that requires this kind of workflow. But you have a good point that is not THAT much of a time saver.
     

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