Then there’s the Director’s version, the Agency version and maybe an international version (or five) that also need to be completed.Įach of these versions will usually share the exact same core of shots that get used in each version and it would be a huge waste of time re-grading each shot from scratch. There is (almost) never only one version that needs color grading!įor commercials, there might be the :90 second spot that goes up on YouTube as well as :60 / :30 / :15 / :10 second versions that ALL need to be color graded. This means our entire pipeline is optimized for quickly turning these jobs around (at exceptional levels of quality) and the way I run DaVinci Resolve is also optimized for the needs of short-form clients.Īnd here’s the truth about commercials and music videos:
The post-production facility that I work at, Smoke and Mirrors, is primarily a short-form facility.Īnd while feature-length projects frequently pass through our doors, in terms of sheer volume it’s the short-form work that is our bread and butter music videos and television commercials. The Essential Truth about Short-Form Commercial Facilities The concept I showed you in Part 1 still applies even for non-DPX workflows you’d conform the timeline as delivered to you from your client and then render out to the in-‘house file format’ before moving forward. Whatever is appropriate for your business and your clients, the file format you choose to standardize would represent your ‘in-house file format’. If you wanted, you could choose to standardize on ProRes4444 or DNxHD – depending on your client base and the file formats you’re most likely to work with. While this means we’re making extremely large files – often for codecs (such as h.264) for which this would be considered a huge overkill, it allows us to move between disparate software platforms and craftspeople very easily. For me and my team, that codec is 10-bit DPX files. Tutorials / Commercial Workflow / Commercial Workflow Part 2: Leveraging The Master Session SeriesĪs I showed you in Part 1 of this Insight, one of the keys to an efficient workflow in a high-volume commercial Post-Production facility is to standardize on one codec.
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