The Gemini 4:4:4 Workflow – Sony F3 – ProRes

Gemini 444

This workflow will allow you to bring your video into Avid or any other NLE, cut in DNxHD 36, re-color the original footage, and relink your sequence with the AMA relink.

  1. Open DaVinci Resolve lite. Resolve is a professional grading application that for the price of $0 is one of the best deals you will ever come across. If you don’t have it, don’t worry, its easy to download! You can find it at http://www.blackmagicdesign.com/support. Select your OS and select Resolve from the drop down list.Resolve_OpeningYou will need to create an account, this feature is there because multiple colorists could be working on the same system.   Resolve LoginOnce done create a project by clicking the plus sign in the bottom left corner. Name it the same as your project.Resolve_ProjectsNew_Project_Resolve
  2. Create_Project_ResolveThe First step in Resolve is to get your media into place in your “Media Pool.” Navigate in the “Library” window to the folder containing your DPX sequences from the Gemini. You will find this information in the “Media” tab. The tab is on the bottom of the screen.Media_Tool_barMedia_Library_ResolveI have some test footage from a VSX test where the Gemini was used so I will take you through these steps with that footage. Once you find your media, go to the top level folder. It will be named something resembling  }CLIPS{__________GEMINI__444. Gemini_Footage_Library_ResolveDrag that folder into your “Media Pool.” The Gemini creates .wav files that accompany the DPX but unless your shoot has configured it to capture sound these will be empty and can be deleted from your “Media Pool.”Resolve_Playing_DPXMedia_Pool_ResolveAs you can see Resolve will show you prevalent information about the video: Resolution, FPS, and Color Bit Depth. The 10b is for 10Bit color.Resolve_Format_Info
  3. The Gemini has the option to capture Sony’s S-Log from the HD Dual Link SDI, which gives you greater dynamic range for color correcting. What S-Log does is compress the Highlights and the Shadows. This will preserve the details in the image. The issue with that is that the image will need to be color corrected to get rid of the milky look on the image.Milky_DPX_No_ColorColored_DPXSome editors might not care about this step, but when I edit I like to have something as close to the final color as possible as it might effect my perception of the emotion in a scene. To do this one light, go to the color tab.Color_Tool_BarColor_Correct_OptionsMost of the time I just play with the Gamma Curve to push the black back into the darks. With Resolve you do much, much more and you should experiment with coloring in it as you might end color your film (as has happened to me a few times).Gamma_Curve_FixA simple tweak like the one below will give you a simple fix for now.Gamma_Curve_Changed
  4. The next step is to export to get into Avid. First go to the “Deliver” tab.Delever_Tool_BarDeliver_TabNext you need to select the format container/wrapper. For this workflow I am using ProRes 4444. Select Quicktime in the output section where it says “Render to.” Next select the “Codec” to “QuickTime Apple ProRes 4444.” Your “Resolution” should be set to “1920×1080″ and the “Frame Rate” needs to be “23.98.” (The Gemini with the F3 will only do 23.98/23.976. The Gemini 444 takes Sony’s 23.976 PsF (PsF is a method to create a full non-interlaced image utilizing interlaced scanning) and creates the image that the Gemini 444 captures.Output_Format_Container Output_Full_Settings Set your outputs like the image above. Next you need to set your “Render Timeline As” to “Individual Source Clips.” This will create individual clips that are 1 to 1 in length of the original DPX. If you set it to “Single Clip” you will get all the clips in one long video (don’t do that). You also need to choose a “Directory” where you will put these new videos. I suggest creating a sub folder under your video’s project folder. Call it something like ProRes or ProRes_4444. Something easy to notice and remember.Source_Clips_OutputThe key to this workflow is the fact that when you create the ProRes’s you will use the “Source Filename” as the new file’s name. This will enable you later to replace the ProRes file with new updated and colored ones.File_Name_OutputsAs you can see on the “Timeline” above there are my clips. Wondering what the colored indicator means? Its simple, it has color applied. 

    What_Color_Clips
    I have only applied color to one for this example but if this where a real senario I would apply a “One Light” to all clips. If you need to get to cutting quick you can skip the “One Light.” On the “Timeline” you need to mark the first clip with a “Mark In” and the last clip with a “Mark Out.”Mark_In Mark_OutYou’re now ready to add your export to the “Render Queue.” Click the “Add Job” button. Add_JobThis will add your “Job” to the “Queue,” but first it lets you know that it will overwrite anything that could be there. Overwrite_ResolveHit the continue button and it will be added. Next, hit the “Start Render” button.Start_RenderRendering_ResolveIt will render your clips. This can take some time if you have a lot of clips and a regular speed hard drive. With a Seagate thunderbolt adapter, reading straight from the SSD, I was getting around real time conversions.Prores_Folder
  5. Once your files are all exported you can bring them into Avid Media Composer or any other NLE.Avid_Launch_ButtonAvid_Launch_ScreenSet up your project settings to the following. “Project Type” should be “1080p/23.976.” “Color Space” should be “YCbCr 709.” Your “Raster Dimension” should be set to “1920×1080.” Avid_Project_SettingsCreate a bin for your SEQs and one for your AMA QuickTimes.Avid_Project_Window
  6. Now you need to bring in your ProRes 4444 files via the AMA files button. Right click in your AMA Dailies bin.Link_AMA_FilesSelect “Link to AMA Files” not “Volume.”Select_ProResNavigate to the ProRes folder and select all the files.AMA_ProRes
  7. Now that you have them into Avid you need to “Transcode” them to something that will be more manageable for editing. We need to select all the files and right click.Transcode_ButtonSelect “Consolidate/Transcode”. Now select the transcode option, choose where you want the Avid MediaFiles to be placed. Then choose DNxHD 36.Avid_Transcode_SettingsHit Transcode!Avid_Convert_36Converted_Files
  8. Now you can rename the files what they actually are (Rename the New Files! Not the AMA ProRes 4444.) Do all the normal assistant editing work: bin organizing, syncing, and labeling. Start to edit your sequence.Edited_Seq
  9. Once you’re finished editing and are ready to update your color you need to send the sequence back to Resolve. The first step is to export an AAF from Avid.Avid_Export_SeqSet the settings like this. Select AAF from the “Export As” drop down.  Only check the “Include All Video/Data Tracks in Sequence.”You can use the “Enabled Tracks” and/or “Marks” feature.Avid_AAF_SettingsExport the file where you can remember it.Avid_Export_AAF
  10. Now we need to go back to Resolve.resolve_Opening
  11. Add the DPX files back to “Media Pool” if they are not already there.Media_Pool_Resolve
  12. Go to the “Conform” tab. Select “File” and click “Import.” Navigate to the folder where you exported the AAF.Conform_Tool_BarResolve_Import_ButtonThis box will come up. Select the settings in the picture below. Only click the button that says “Automatically Set Project Settings.”Resolve_AAF_ImportHit ok and it will create a new timeline named after the AAF.
  13. Select New timeline in ResolveResolve_Timeline_Avid
  14. Color! Resolve_ColoringI chose to do dramatic color changes to help you see when we go back to Avid. No, I’m not that bad at  color correcting.
  15. Once you’re done coloring, you need to select the “Master Timeline” with all of the dailies. To save time I would advise you to figure out which clips you used and only put those in the “Media Pool”Resolve_Timelines
  16. Repeat “Step 4″
  17. You should have overwritten your original ProRes Files.Resolve_Overwote_OldYou can now go back to Avid!Avid_Launch_Screen
  18. We now need to relink the DNxHD 36 sequence to an AMA  ProRes 4444 sequence. First open your AMA bin and select only your AMA files. Close all other bins. If you select files other than AMA this will fail!AMA_SelectedAt this point the AMA files should be seeing the new colored footage.AMA_See_New_ProRes
  19. Right click on the edited DNxHD 36 sequence and select relink.Relink_ButtonChoose the settings in the photo below. Select the option that says “Selected Items in All Open Bins.” Relink by “Original” “Start” and “Tape Name or File ID.” Check the “Match case when comparing source names.” Also check the box that says “Create a new sequence.”Relink_SettingsIt will create a new sequence that should be online and ready to export. With this method everything that you did to your original sequence will transfer to your new AMA one.New_Colored_SeqThe sequence no longer says .new on the clips because they are linking to the new colored AMA ProRes 444.
  20. Export your sequence for final delivery.

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