Creating Dailies for Short & Feature Films in 2023 | Davinci Resolve 18 + AVID + Premiere Pro

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As a person who worked as the Senior Dailies Operator, working on major motion pictures, and television series...for a major company ...for six years. I can just say that there are some major problems with this. This video is helpful in that it illustrates that dailies can be made with Resolve...But please - don't do them this way. Like I said, the software will work. The workflow won't; unless you want to get fired. All of your initial settings should already be established for the entire project before you even begin. This includes Camera type, Frame rate, resolution, Aspect ratio, LUT, debayer settings, audio capture device, audio resolution, etc. Your folder structure for the project should be established with an Assistant Editor already (probably something like ' Working-Title-DAY01-012724..Inside of that folder will be all of your camera rolls, audio rolls, camera reports, sound reports, etc. When you first get the footage you need to make sure it is all present and lines up with the reports.If not - start looking for it. Here is the workflow... 1. Ingest all of the audio and video, and then checksum it. As soon as it is all ingested start writing it to LTO tapes. You keep one copy in a safe, and the other gets sent to the production company. zero loss of data is crucial. 2. Sync the audio to the video. Timecode is often not perfect, so a lot of it will need to be manually adjusted. 3. Comments. While you are checking the sync you need to note, and add to the metadata any anomalies..IE' sound not speeding for slate mark', or misslated as Tk3, or boom in frame at...etc. 4. Once it is all synced up then it needs to be colored. CDL's probably came from the DIT on set, so pop those on. Then go through and match anything that seems to pop out as not matching. 5 Transcodes. There will probably be more than one deliverable. One will be a string-out for the AE, and most likely a streaming deliverable to put up to 'pix' or something like that. Transcode and upload your deliverables to the cloud services that have been agreed upon. 6. Scan all of the paper reports and put them in a folder with your digital reports. 8. Send out your dailies report. This is sent daily once you are done doing dailies. It needs to include the project and date, camera rolls received, audio rolls received, the amount of data received, any relevant notes etc..
10. Go home and hope that no one calls you. rinse repeat.

Would love a workflow tutorial on synching in Davinci then exporting to premiere to edit then back to davinci to color. I've tried to just learn davinci editing but I hate hate hate hate hate their Interface etc. for the editing tab.

You created dailies but SKIPPED the part where you sync the audio. In fact you skipped the part where you can batch sync using timecode? Hmmm...

thank you for this video! i referred to this before i was an assistant editor/DIT on a feature film and it was a huge help. the data burn in really helped when we showed dailies every night as well. with our workflow, a bit was changed from what you did in the video.

basically our workflow was id receive footage, back it up to 3 drives, i’d look over everything to make sure each shot matched with scripty notes, generate proxies, sync audio to video, trim down the clips for a dailies reel, then we’d show dailies for the day actually within davinci resolve.

it was a wonderful experience and this video was definitely huge on helping me stay on top of things.

But when you render it and put it in a new project (your actual edit) how do you remove the burn in, since it is already part of the clip?

i would actually curse your name if i received these dailies.

all that metadata can be embedded in outputs on avid side.. there's no reason to burn it into baked in bars. if it was actually anamorphiic, it would be fine, but yeah... you baked in bars covering up valuable reframe ability, and burned in data that avid can burn in later anyway.

don't add black bars!!!!! NOO!!! terrible terrible. keep the bars applied in the editing program. you just throw away reframing ability by baking in the bars to the proxies. dumb dum dumb. they can apply masking in their software.

loved the video man! quick question I'm struggling on how to export on davinci resolve.. (I'm currently making a short film that is shot on the Sony ZV-E1 in SLOG3 SGamut3.Cine) and I am editing on windows 11.

I convert the SLOG3 footage to Davinci Wide Gamut with CST and DWG to Rec709 in the OST in the color tab.

I tried many export settings but I can't get 10 bit export on H264 for some reason.. I can get it on H265 and DNxHD (Encoding profile: Main10 - Main 444 10 for 10bit) would appreciate your help ^^)

Thanks for this! Quick question: if sending the Dailies as mxf over to Media Composer, do you need to create an AAF?

Nice video. I've linked audio with footage before in Resolve but then had challenges with turnover to Premiere/Avid/Pro Tools etc. I'd love to know a good workflow for that.

What is your process to link back to original media after editing?

If you do need audio, you can actually sync full cards/days at the same time by selecting both bins, right click, "Synchronize Audio by Timecode." This should get everything within two frames, then you can fly through getting it exact by unlinking, slipping by subframes, then relinking. Obviously, this can cause issues downstream with metadata loss, but I'm not qualified for those convos. Haha