grading prep sheet

Generally, to handover to grading you need to provide the following:

  • original camera files (preferred) or prores playout 

  • reference playout per timeline / format

  • editing translation list per timeline, depending on which
    software you use or

  • an already conformed davinci resolve project!

To make ensure a seamless workflow, please consider/discuss/answer the following things before the session:

  • which cameras were used & what source resolution are we working with? did you shoot RAW?

  • which resolution are we delivering in?

  • how many assets need to be graded?

  • if we have cutdowns, are they consisting of the same source material or do they differ?

  • do we need to allocate time for conforming on my end?

  • will there be an “onlining” process after the grade?

  • do we need handles? how many?

  • which colourspace was shot in? (for example S.Gamut.Cine)

  • which Gamma-Curve? (for example: Slog.3)

  • will you be able to provide a working SSD or are we working via online transfer?

  • Ideally, I would receive a cleaned up hard drive with all the relevant files.

    If we work remotely and files are transfered via link, a consolidation will be helpful and reduce up- and download times.

    Consolidating means to select and provide only those files that actually have been used in the editing process. It saves copying-, up- and download times. A consolidation can be done in different programs, but Resolve’s Media Management is the best option. Important is to copy, not to transcode files. Do not change filenames. Make sure to copy original files, do not copy proxies!

    A roundtrip is the most flexible way to hand files back and forth when online is done after the grading or time doesn’t allow for a thorough conform. That way you’ll get each timeline back as Single Clips in Source Resolution with Handles and XML to reconstruct the timeline after with the graded files.

    Please talk to me to figure out which would be the best way to deliveries.

    • reference playout per timeline

    • small h264 is enough!

    • clipname and source timecode burn-ins are essential!

    • if you used a LUT, keep it on so i can see what the client saw :)

    • easiest way to handover! no need to conform, as everything should come through as layed out in the edit!

    • davinci resolve project file (.drp) or davinci resolve timeline file (.drt) per timeline

    • XML, EDL or AAF (XML is always preferred)

    • no nested sequences, no unnecessary soundtracks

  • I generally prefer to work with original camera files, especially if we have many timelines/cutdowns, please speak to me first! :)

    • preconformed EDL of cleaned up timeline*

    • clean Prores 4444 in LOG and desired final resolution

    • render at 16bpc and maximum quality (Premiere)

    • no baked in LUTs/Blanking/Graphics etc.

    • generate Prores from Original Camera Files, not Proxies

    • check for RAW Settings and make sure to debayer to LOG

    *please note that EDLs only translate one track at a time, so it’s wise to clean up your timeline and reduce everything to one track. An EDL can be used on a Prores File to cut it up easily and save tim

    • easiest way to handover graphics is by providing a Prores Playout of the graphics track(s).

    • playout needs to come as prores4444 with alpha channel for transparency.