{"id":61510,"date":"2015-08-21T11:35:15","date_gmt":"2015-08-21T16:35:15","guid":{"rendered":"http:\/\/www.premiumbeat.com\/blog\/?p=61510"},"modified":"2015-08-21T11:43:20","modified_gmt":"2015-08-21T16:43:20","slug":"on-set-data-backup-with-davinci-resolve","status":"publish","type":"post","link":"https:\/\/www.premiumbeat.com\/blog\/on-set-data-backup-with-davinci-resolve\/","title":{"rendered":"On-Set Data Backup with DaVinci Resolve"},"content":{"rendered":"

Blackmagic updates DaVinci Resolve with incredible features for ingesting footage.<\/h2>\n

In Blackmagic’s<\/a> latest bid to hook all of us on software we can\u2019t live without, DaVinci Resolve 12<\/a> beta is now a very cool, easy-to-use on-set data management tool<\/strong> for ingest-monkeys, card-wranglers and actually-real DITs<\/a>. It\u2019s also the Assistant Editor\u2019s best friend, allowing for easy metadata markup<\/strong> of assets, automated audio waveform sync, complex searches, and file organization.<\/p>\n

\"On-Set
\nDIT Cart. Image from No Film School<\/a><\/em><\/p>\n

With the app now boasting Intel GPU support, even with the lowliest of the Mac notebooks \u2014the MacBook Air<\/a> \u2014 users can zippily run the app (especially if you opted for 8GB of RAM) on the same machine you compose emails and invoices with. While you wouldn\u2019t want to actually edit and grade with a MacBook Air (because that would be an exercise in sadness) it should probably be used\u00a0as a hub for cloning and backing up footage on set.<\/strong><\/p>\n

The best part is… everything you do on set with cloning will reside in the exact same app you edit and color your show on. So now that ambitious PA charged with wrangling cards<\/strong> and backing up data<\/strong> can also tag crucial metadata tags<\/strong> for the editor and attach LUTs to clips<\/strong> for the colorist working with the data downstream.<\/p>\n

\n

Resolve for Backup<\/h3>\n

Let\u2019s imagine a scenario. You got a last minute gig as a card wrangler<\/strong> for a low-budget corporate spot. Their original guy didn\u2019t show and the shoot is already happening. The location is a cramped house and space is at a premium.<\/p>\n

\"Guerrilla-Track-on-kitchen-set-Love-Robots\"
\nA small, cramped set. Image from GuerrillaTrack<\/a><\/em><\/p>\n

You\u2019re handed a MacBook Air<\/strong> and two USB 3 SSD drives<\/strong>. The 1st AC tells you to go find quiet corner out of the way and set up.\u00a0 The tiny house is crammed with crew and a couple of stressed out producers. There\u2019s no room anywhere, so you start checking closets. Within minutes you\u2019re up and running in the kid\u2019s bedroom closet.<\/p>\n

You stealth your way back to the shoot just as the first card is getting swapped from the Sony a7R II<\/a> covering the job in 4K. The AC hands you a 64GB SDXC<\/strong> card and says to clone it to the edit drive and the back-up drive.<\/strong> They only rented two cards so, \u201cmake it snappy.<\/em>\u201d<\/p>\n

This is one of those wildly scary weak-link moments in file-based media production. The product of an entire day\u2019s worth of shooting exists on tiny plastic and silicon memory cards, small enough to swallow, until the data is safely backed up.<\/strong> The moment that the card leaves the AC and lands in your hands, the entire work of the entire crew rests on your ability to confidently and quickly copy the entire card, wipe it clean, and hand it back.<\/strong> If you screw this up, there’s nothing to do except reshoot. I was once on a shoot where an inexperienced card wrangler deleted half a day\u2019s work because he didn\u2019t understand how card back-ups worked. This happens.<\/p>\n

Here\u2019s what you do in Resolve to avoid this kind of disaster:<\/strong><\/h4>\n
    \n
  1. In the Media Page, click the \u201cClone\u201d button on the left of the Media Pool tool bar.<\/li>\n
  2. The Clone Palette will pop up and you can create a new job by clicking the \u201cAdd Job\u201d button.<\/li>\n
  3. Now just drag the item you want to clone. In the case of our hypothetical \u201ccard wrangler\u201d scenario, drag the SD card icon you just inserted to the \u201cDrop source here\u201d hot spot.<\/li>\n
  4. Drag and drop the destination drives to the \u201cDrop destination here\u201d hot spots to set them up as the targets.<\/li>\n
  5. Click the \u201cClone\u201d button. That\u2019s it.<\/strong> Resolve will make bit-for-bit checksum verified copies of your card.<\/li>\n<\/ol>\n
    \n

    Importing into the Media Pool in DaVinci Resolve<\/h3>\n

    Now that you\u2019ve cloned the card, it\u2019s time to check the contents. This is also an excellent time for you to shine as \u201cmore than just a card wrangler.\u201d Right-click on the freshly cloned SD card living on your Edit Drive and choose \u201cAdd Folder into Media Pool.\u201d\u00a0<\/strong>While there are some really great ways to slice and dice the data on import, I\u2019m just going to cover a really quick one that gives you the kind of confidence that the clips have actually been copied and exist.<\/p>\n

    In a few moments, Resolve will drop all of the footage in the cloned SD card into the Media Pool and a whole lot of clip icons will populate your screen.<\/strong> Since (in our \u201cwhat-if\u201d scenario) the footage was shot 4K Slog-2 and you\u2019re working on a MacBook Air, you are not going to want to try and play back the footage.<\/strong> You can check frames and make sure there\u2019s actual images before you wipe the card and hand it back to the AC.<\/p>\n

    When the day is done, you can hand off the drives and feel confident that everyone\u2019s work is secure and duplicated.<\/strong><\/p>\n

    \n

    The Takeaway<\/h3>\n

    There are other software packages, plug-ins, and data management tools<\/strong> that handle all of these tasks. Adobe CC 2015 has a great piece of software called Prelude<\/a> that lets you ingest, copy, and tag clips. It is integrated into the Premiere Pro CC pipeline and works great and comes with your CC subscription. RedGiant<\/a> has a tool called \u201cOff Load\u201d which is a really straight-forward app that clones and checksums file based media.<\/p>\n

    While both of these tools work, they still cost actual money and function as separate applications. This isn\u2019t a bad thing. It\u2019s great that people make software, charge money, and get paid for it. It is also perfectly useful and efficient to have different pieces of software do different jobs. The history of post-production software is littered with bad attempts by developers to create a \u201call-in-one\u201d post application.<\/p>\n

    What’s really interesting to me is that it appears Blackmagic DaVinci Resolve 12 may have actually done just that \u2014 created an application that works for every stage of post-production, from cloning data to final grading.<\/strong> It\u2019s not a VFX package, and the titler and transitions are very simple, but the editing tools are intuitive and robust, while the grading suite is rock solid. Resolve 12<\/strong> doesn\u2019t have every<\/em> bell and whistle of a modern NLE… just the right ones.<\/p>\n

    Have you used DaVinci Resolve 12 to backup footage on-set?<\/strong> Share in the comments\u00a0below.<\/p>\n","protected":false},"excerpt":{"rendered":"

    Blackmagic updates DaVinci Resolve with incredible features for ingesting footage.<\/p>\n","protected":false},"author":31,"featured_media":61888,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[1085,3843,715,39],"tags":[4446,5385,536,380,5376],"class_list":["post-class-post-61510","post-class-post","post-class-type-post","post-class-status-publish","post-class-format-standard","post-class-has-post-thumbnail","post-class-hentry","post-class-category-davinci-resolve","post-class-category-filmmaking-2","post-class-category-industry","post-class-category-video-editing","post-class-tag-data-backup","post-class-tag-davinci-resolve","post-class-tag-filmmaking","post-class-tag-footage","post-class-tag-video-editing"],"acf":[],"yoast_head":"\nOn-Set 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Escobar","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/secure.gravatar.com\/avatar\/b7d571f13424ac2f1cb36715e3403b72f9967b426b20e108d3d7b81c0027b10f?s=96&d=mm&r=g","url":"https:\/\/secure.gravatar.com\/avatar\/b7d571f13424ac2f1cb36715e3403b72f9967b426b20e108d3d7b81c0027b10f?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/b7d571f13424ac2f1cb36715e3403b72f9967b426b20e108d3d7b81c0027b10f?s=96&d=mm&r=g","caption":"Eric Escobar"},"description":"Eric Escobar is a filmmaker and technology geek from Northern California. He has been making films and videos since he was 15, and graduated from UC Berkeley. Eric has written and directed a dozen short films and a staggering number of industrial videos, commercials and PSAs. He was once awarded an Honorable Mention in Short Filmmaking from the Sundance Grand Jury. He previously worked for Adobe Systems, working tech support for Premiere and After Effects. He then worked for Apple, Inc as a QA Engineer on the Final Cut Pro Development Team. Nowadays he develops Magic Bullet Looks Packs for Red Giant Software.","url":"https:\/\/www.premiumbeat.com\/blog\/author\/ericescobar\/"}]}},"jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/pab9JK-g06","jetpack_featured_media_url":"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2015\/08\/New-Macbook-Featured-Image.jpg","_links":{"self":[{"href":"https:\/\/www.premiumbeat.com\/blog\/wp-json\/wp\/v2\/posts\/61510","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.premiumbeat.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.premiumbeat.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.premiumbeat.com\/blog\/wp-json\/wp\/v2\/users\/31"}],"replies":[{"embeddable":true,"href":"https:\/\/www.premiumbeat.com\/blog\/wp-json\/wp\/v2\/comments?post=61510"}],"version-history":[{"count":18,"href":"https:\/\/www.premiumbeat.com\/blog\/wp-json\/wp\/v2\/posts\/61510\/revisions"}],"predecessor-version":[{"id":61889,"href":"https:\/\/www.premiumbeat.com\/blog\/wp-json\/wp\/v2\/posts\/61510\/revisions\/61889"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.premiumbeat.com\/blog\/wp-json\/wp\/v2\/media\/61888"}],"wp:attachment":[{"href":"https:\/\/www.premiumbeat.com\/blog\/wp-json\/wp\/v2\/media?parent=61510"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.premiumbeat.com\/blog\/wp-json\/wp\/v2\/categories?post=61510"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.premiumbeat.com\/blog\/wp-json\/wp\/v2\/tags?post=61510"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}