yes. and resolve projects, its all about how you tackle and discuss projects, its something that ive been pushing for hard the last few years with great results making collaboration and teamwork a thing that ends up costing less overhead
none of these old workflows stand a chance once HDR hits the scene either.
I don’t do the grade. It’s done out of house. If I worked in a larger facility and we were always the colour company and had grading incorporated into our workflow, I might feel differently.
but just imagine instead of sending you graded files you would just get the metadata.
boom. its just better - of course its hard to get people off workflows they have been doing for 30 odd years… thats the hard part
HDR is not going to be hitting the basic everyday commercial world anytime soon.
I have a hard time getting them to send me the correct resolution.
I am not a fortuneteller but i am allready doing very early-adopter first hdr commercial projects and tests with agencies and stakeholders on how to utilize hdr for commercials. itll be here soon enough, especially as monitors are finally mainstream.
You are apparently young and unfamiliar with the pace of change in the commercial world. I started working in HD in 1988. I did my first HD commercial in 2003.
bingo.
thats why i prep all the resolve projects for external colorists (one single conform step not multiples) and then just access and share the project in blackmagic cloud and boom.
Now I am in full controll of every step of the project, I also get premiere projects, i am like the central hub of all the things happening so I can push my files through all the apps and steps as i please, its great, i like control. no suprises and nobody forgetting to render handles or denoising random shots…
its all about streamlining stuff for me and it works rather well.
If I could count on that with consistency I would do it, but I have no desire to spend a single joul of energy trying to educate a client base that is getting stupider my the millisecond. I’ll leave that for the next generation (that’s you.)
And for what it’s worth, I hate prepping shit for others. I’m way too busy for that.
from what i heard is that hd came very fast, but yes sure I am young.
but when I started there was maybe 3 versions to deliver.
Now we are talking 600 or 6000 different deliverables with a new aspect ratio and title safe and bumpers and whatnot comming in like every day.
so i do think things do change quiet rapidly, well see about hdr whenever it comes i am 100% ready from monitors to workflows i got this sorted
Like I said in my original post, I don’t think my way is better. It’s just best for me in my situation.
I am frequently lucky enough to be the colorist for a lot of the spots I do and I always want to do it after comp is done.
Even if they want some tweaks to a shot after the grade It’s mostly just me handing things back and forth between Flame and Resolve with myself.
And I was doing HDR photography in 2008, so it may not have come as fast as you might think.
that kind of hdr is very different from the hdr video stuff 
there where no hdr monitors in 2008
reminds me of this super nice subreddit
imagine having someone in your pipeline that does all this stuff for you, preps the projects distributes stuff so you can compeltely focus on the creative part and dont have to worry about anything.
thats where I come in I just try to solve all the repeating workflow issues I came across when i was brought up as a AE and then Color Assist etc, looking at the big picture i can actually say i can solve most of it and enter a new world of flexibillity for all parties involved, because yes you dont have time because you need to fix all these stupid mistakes from everyone that can be avoided!
There were no monitors, there was a big learning curve, lots of experimentation and there was a lot of mistakes made. I made quite a few myself. In fact, most of the shittiest stuff was done with single exposure images put through HDR software. But the origins of todays HDR were there. Basically it was to capture 10 stops of range (or thereabouts depending on the quality of the camera) build a 32 bit EXR and tonemap it into the sRGB range. But this is a discussion worthy of it’s own thread, rather than hijacking this one.
That would mean getting a job at a larger company. I spent over 20 years in mega facilities, frequently doing what you describe, and another decade in intermediate sized ones. I’m not going back.
yea totally , but now it can be done at a much smaller scale, we are small as well i just autonate everything so i am not a > 10 people facility at all
I’m a total of 1 as far as finishing goes, and there is another guy that makes graphics
As others have said, grade last. However, if you are working with the DI shop, having all the sources in a common colorspace is handy. Oh, make sure to give them mattes. Colorists love mattes! 