You can then scrub through or play your timeline and it will show the reference clip alongside the corresponding frame of your timeline so you can compare them. It kept everything neat and orderly, and helped the production crew stay oriented when trying to remember what scenes were shot when. And from experience, I know that as long as I don’t change the resolution, Resolve can transcode from h.264 to ProRes Proxy lightning fast.While playback was decent on my MacBook Pro 15”, this particular codec ran my MacBook 12” into the ground a bit. For example, in the case of a RED shoot where ProRes proxies are being generated alongside the RAW footage and there’s no need for transcoding, you may choose to begin uploading the dailies while simultaneously syncing and organizing the footage in your chosen NLE. I also live in New York. Dailies in film are the raw, unedited footage shot during that day. Switch to the Edit pane and click the icon that looks like a filmstrip underneath the left-hand viewer. Patrick and his team are currently working on the indie feature film, Faith Based, a comedy by filmmaking duo Vincent Masciale and Luke Barnett. Send us an email: blog at frame.io if you have an idea for a post or want to write one yourself.Now that we’ve gone over the different aspects to consider when crafting a remote dailies workflow, let’s take a look at how it all comes together with a few examples based on projects I’ve edited.As a secondary detail, I knew I’d be taking two out of town trips during the edit, so I wanted files that were small enough to fit on a portable, bus-powered hard drive, and that would perform well on my travel computer (a MacBook 12”).While the dailies were uploading in the background, the AE would sync the day’s footage in Premiere, using markers to add any comments or useful information from the editor reports right into the clips.I attempted to order the topics in this article logically, but for the optimal workflow, it’s really best to try to consider all of these different aspects and needs at once.As you read through and digest these workflow puzzle pieces, consider how changing one might affect the others.© Copyright 2020 All Rights Reserved.In our case, the proxies were set as 2K h.264 files wrapped in an .mfx because our shooting resolution was 4K.Once you have an idea of your upload speeds, you can begin to make adjustments to your dailies’ resolution and codec to maximize your upload/download time.At the end of the day, the DIT delivered the in-camera proxies to the AE, which he immediately ingested into Premiere, since these ProRes Proxy files were edit-ready.For example, RED cameras can record in any of the different ProRes formats. There’s no local assistant editor and the director will essentially be a one-man band; yet we’ll barely cross waking hours with the time zone difference.This month, I’m editing an independent feature film that’s shooting in New York.This blog relies on people like you to step in and add your voice. I had to drop playback to 1/4 quality to eliminate stutter.If the dailies are being reviewed by other team members, decide if they’ll need synced footage. Because the location was very remote, the cast and crew were staying at a hotel with a pretty standard consumer level internet connection, so we wanted to test out Frame.io’s claim of having superior upload speeds and be certain that we wouldn’t get stuck with never-ending uploads.Finally, once the dailies uploaded, I was able to download them and the Premiere project on my end, add each day’s new bins to my master project, and maintain the notes that the AE had added to the footage as markers right in my timeline.Are you simply delivering footage to the editor, or are you creating dailies that will be viewed by other team members, like a director or producer?While it’s really not necessary to have a lighting fast internet connection to take advantage of uploading dailies (though it helps! I definitely experienced stutter and delay when scrubbing clips in the viewer using the JKL shuttle controls.Another piece of the puzzle to consider was that I didn’t have an assistant editor due to budgetary restrictions (read: independent film). Viewing. Director Vincent Masciale on the set of “Faith Based.” ), it’s useful to know what you’re working with.If you’re shooting in 4K, you’ll likely want your dailies to fall somewhere in the 2K to HD range, unless your project is very short or your internet connection extremely fast.This can be a huge time-saver because it can allow you to skip the next step, transcoding dailies.This feature film was shooting several hours from New York and had hired a very capable local assistant editor to prepare the footage, so there was no need for me to be on set as well.I spoke with the sound recordist and knew that we’d be recording a reliable audio scratch track, so I wasn’t too concerned about having synced dailies uploaded for the director or producers.Rather than hiring runners or a courier service, a properly designed digital dailies workflow can get your editor the files they need with a simple upload, even on a standard or unreliable internet connection.As I’ve mentioned a number of times, I pretty much always turn to Resolve for fast and reliable batch syncing.
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