Tonight at 7pm MDT there will also be a free premiere of everyone's music videos at the Metro Theatre in Edmonton. The song is also coming to iTunes and Spotify! But if you cannot wait that long you can get it now at CD Baby.
The nerdy stuff!
Okay, you've now that you've watched the video, I'd like to share the timelines of this project! I'm not going to share all of them just the important ones.
First Rough Cut
This is the initial rough cut I did. It got a tonne of multi-cams (or grouped clips as Avid calls it) on top of one another to make choosing takes easy. Couple that with the extremely power trimming tools in Media Composer and this was a dream to edit this way.
The Fine Cut
Not much difference here from how the timeline looks stand point but many shots have changed move or been replaced.
Prepped for Colour
Once the fine cut was approved, and everyone was more or less happy with the results it was time to take the fine cut and prep it for colour. Commit the multi-cam clips, bring everything down to as few layers as possible. In this case, two as layer two was for the one effect shot. Shoutout to Harvey Li of Alpacalypse Productions for getting that done for us in such a short amount of time! Anyway, once that is done it's time to bring it into colour.
Resolve Colour Management
So our DOP, Chase Gardiner, shot this video on his RED Scarlet Weapon mean I had a tonne of room to play with in the colour department. To make sure that I could effectively access that data I used the ACEScct colour space to work in. Converting DRAGON Color 2/RED LOG Film to Rec 709 for this project. In theory, we could go back and export in any other colour space with little issues, because I did the colour in ACES.
Here is the final Resolve timeline. Not much has changed but I did add a slate back in for colour exports to the team, and I place the final VFX shot in the video moving it down to only one layer.
Online Master Timeline
Final we get to the Online timeline. Normally you do this in the same program you started in, in my case Avid but I was running short on time, and I know Premiere much better than Avid, so I opted to finish it in Premiere to speed up the online. If you're wondering why there are two stereo channels of audio on the timeline that is because the final masters have four channels of audio for the two versions. Web audio and broadcast audio. Shoutout to Jesse Luce who helped me level the audio for both specs correctly! It's been a fun project!