Please deliver the following materials to Cycle Media, #302 - 211 East Georgia St by 5pm the day prior to the session.

XML/AAF

-  Remove all media that is not to be graded. This includes hidden or disabled clips, audio and titles.

-  Collapse all tracks into one layer of video where possible.

-  Linear speed effects will translate but dynamic speed changes will need to be removed. Please extend the shot duration to cover the length of the speed change.

-  Nested sequences and compound clips must be un-nested.

-  Please supply one XML/AAF per timeline, do not consolidate multiple timelines into one file.

QuickTime Reference

-  QT reference files should match the supplied XML/AAFs exactly and be exported from the same timeline.

-  A cut-reference QT can be supplied that matches the latest edit and include any effects or elements removed from the colour prep timeline.

-  Please keep any dailies colour baked into the QT references.

-  Preferred codecs are ProRes 422, ProRes 422 LT, or ProRes 422 Proxy. H.264 in .mov or .mp4 is also accepted.

Source Drive

- Please consolidate media to a single drive where possible. 

- Should be clearly labeled with the project name.

- Please include any power cables.


Baked Sequences

-  When working from the source media isn’t possible please render out a ProRes 4444 sequence of your timeline with any LUTs or temp colour removed.

-  This file should be at the same resolution and frame rate as the final deliverable, e.g. UHD @ 23.98 fps.

-  Please render R3D media at full-res decode in IPP2, RED WideGamutRGB and Log3G10.

-  An EDL of the timeline is appreciated if possible.

Best Practices

-  Timelines should be at a resolution that matches the final delivery of the project, not the source media.

-  E.g. a timeline created by dragging and dropping a 3600 x 3000 anamorphic R3D file onto an empty timeline in Premiere may look correct in the NLE but cannot be monitored correctly in Resolve.

-  It’s instead recommended to create a timeline at a more ‘standard’ resolution, i.e. HD, 2K or 4K, and fit the media to the timeline rather than the timeline to the media. This will improve compatibility across platforms.