How to prep and deliver your files for your grade at DOMA. Any questions, just check in with your DOMA grade producer.
Please deliver your files at least 24 hours before your session. This gives us enough time to prep them. If files arrive late, your session could be postponed or your grading time limited.
Choose your workflow
We grade from either original rushes or pre-conformed flat ProRes, depending on the process we have agreed with you. If you are doing VFX or CGI first, talk to your DOMA producer about the workflow and see the CGI and VFX section below.
Workflow 1
Original Rushes
What we need
Original rushes, or trimmed consolidated media with handles (please confirm with us if you choose trimmed media).
XML/EDL or AAF/EDL of the final edit, including any sizing, speed changes and graphics/titles.
An offline reference video of the final edit with source file names and timecodes burnt in.
Stereo 48kHz 16-bit WAV audio file, same start and length as the edit.
Workflow 2
Pre-Conformed Flat ProRes 4444
What we need
Pre-conformed flat ProRes 4444 12 bit QX.
Pre-conformed EDL of the final edit with matching record timecode.
An offline reference video of the final edit with source file names and timecodes burnt in.
Stereo 48kHz 16-bit WAV audio file, same length as the edit.
A single trimmed raw rushes clip from part of the edit, with timecode, for quality comparison.
Key guidelines
Duplicate your sequence. Do this before any changes. It is your safety net if something goes wrong.
Flatten your sequence. Condense it onto one track (usually V1) and remove any unnecessary layers or transitions.
Unpack nested clips. Nested or multicam clips need unpacking and linking back to their original master clips.
Flatten grouped clips. Grouped clips can cause complications, so flatten them before sending.
A few reminders before you send your sequence over.
Link to original rushes. Your sequence should be linked directly to the original rushes, not proxies or transcodes.
Remove the extras. Take out titles, fades and transitions. We can add them back in if needed.
Handle dissolves with care. If you can, supply the individual clips separately. If not, include the full transition length of each clip in an A/B edit.
Keep sizing and speed consistent. Match the offline edit, especially if they are final.
No LUTs. Keep the picture in LOG and remove all LUTs, colour and Lumetri effects. Premiere can apply a LUT to log material automatically. Remove it by selecting the clips and choosing "Remove Masterclip Effects".
CGI and VFX prep
If you are supplying CGI or VFX renders for grade, follow these guidelines so we can prep efficiently.
Preferred format: EXR sequences compressed with DWAA, which keeps file sizes manageable. ProRes is accepted, but EXR is preferred for fidelity and flexibility in the grade.
EDL, XML or AAF of the final timeline.
Colour space information for the supplied renders (ACEScg, Linear, sRGB etc).
Offline reference video with source file names and timecodes burnt in.
Audio WAV file, stereo 48kHz 16-bit, matching the length of the timeline.
LUMA mattes for any key VFX elements. Please supply LUMA mattes, not Cryptomattes. Cryptomattes aren't designed for grading and aren't handled well in Resolve. Individual LUMA mattes per element give us better control.
Clearly named folders and sequences.
Allow extra time. EXR sequences are large, so allow for upload and transfer. The 24 hour deadline still applies.
Label your prep folder
Please clearly label the colour prep folder on your drive like this:
FOR GRADE
EDL / AAFS / XMLS
ProRes
Offline_Reference
Audio
Original_Rushes
Any questions, please contact your grade producer. DOMA Works Ltd