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Demystifying Dailies Color Grading

Updated: Sep 11



Exploring the Art of Color Grading: A Comprehensive Guide


Introduction:

The year 2022 was a whirlwind for me, marked by a move to Boston and a transition from an in-house colorist to a freelancer. During this transformative period, I immersed myself in the world of color grading dailies for three significant projects—a 33-day feature film shoot, a 100-day HBO episodic series, and a 25-day feature project. In this blog post, I will break down the intricate process of color grading dailies and shed light on the challenges I encountered while navigating this territory.


The Initial Meeting with the Production Team:

The journey of color grading dailies commences with a crucial meeting involving the production team, including the Director, DIT (Digital Imaging Technician), and DOP (Director of Photography). This initial stage serves as a foundation for discussing the technical workflow, encompassing cameras, shooting formats, drive handoff, and the requirements for delivering to offline editing teams. Given the extensive data transfer and time involved, locking down the technical aspects of the workflow is paramount. Additionally, this meeting delves into the aesthetic direction envisioned by the Director and DOP, ensuring that I align my color grading with their film vision. Discussions may include the use of specific LUTs for distinct parts of the film.


Equipment and Setup:

The equipment for color grading dailies may vary slightly between different facilities, but a standard setup is generally consistent. For instance, my work on the HBO series "Julia" took place at the post-production house Picture Shop in Boston. This big-budget production warranted a top-tier setup, featuring a Mac Pro connected to a 16 Bay RAID formatted for RAID 0 to maximize data transfer speed. Thunderbolt 4 facilitated connectivity, including the transport drives for expedited data transfer. A dual LTO tape machine was also part of the rig to back up dailies material at the end of each day. My color grading software of choice was EXD Colorfront, optimized for handling dailies workflow.


Camera Tests and Pre-Production:

Before production officially commences, the team often conducts 1-2 days of camera tests to fine-tune the post-production process and resolve any issues. These early stages are vital for acclimating the team to the workflow and addressing issues proactively. Since the production team is usually swamped once shooting begins, early troubleshooting ensures smoother progress throughout the day's shoot.


Shooting Schedule and Communication:

A typical shooting week follows a schedule that starts with early call times at the beginning of the week, gradually shifting to later hours to accommodate the team's rest. Keeping a close eye on call sheets and maintaining communication with the DIT is crucial to stay informed about the day's production schedule. Sometimes, production opts for two drive drops in a day—after lunch and after wrapping for the day. This segmented workflow helps distribute the workload and enables an early start on essential tasks.


Ingesting and Organizing Footage:

Upon receiving the transport drives, the color grading process begins. My initial steps include copying the drives to the RAID and notifying the team about their arrival, along with data volume details and the camera and audio rolls I've received. This copy operation incorporates a checksum to verify data integrity. Subsequently, I organize and log the footage, synchronizing audio and adding essential metadata, such as scene and take information. Meticulously cross-referencing the metadata on the clapper with provided documents ensures completeness and accuracy. Some metadata transfers automatically from audio files, while others require manual input, including LUTs used, shoot day, and episode number. I also conduct manual checks for sync clap and sync for each take to guarantee precise synchronization.


Color Grading Process:

With the footage ingested and metadata properly logged and verified, I embark on the color grading process. Having previously discussed the director's and DP's vision for the project, I possess a clear understanding of the desired visual aesthetic. Since the footage I work on will be viewed throughout the offline editing process, nailing down the look is paramount. My role extends beyond applying the "look" to the footage; it also involves matching different angles and takes to create seamless transitions.


Collaboration with DP and DIT:

During the color grading process, collaboration with the Director of Photography and Digital Imaging Technician is essential. They often provide stills for specific scenes to serve as "hero" shots for matching the overall scene. Given the volume of dailies, color grading entails broad strokes and primarily relies on primary color grading using the lift-gamma-gain color wheels. This phase is particularly enjoyable, as it showcases the remarkable outcomes achieved through excellent lighting, set design, and costumes. Periodically, I send stills to the DP for feedback and confirmation, ensuring we align with the desired direction.


Rendering and Deliverables:

Once the color grading is complete, I render the footage in the required format for offline editing teams, typically DNxHR Avid MediaFiles. Additionally, I render CDLs (Color Decision Lists) and H.264 screeners, both including metadata burn-in for easy reference. The deliverables are then uploaded via a high-speed internet line, often using Aspera or similar tools. iPads provided by production allow for quick review of dailies screeners on set, facilitating prompt adjustments if needed.


Archiving and Data Backup:

The final step in the process involves archiving data and backing up rushes and editorial assets to LTO tape. This step is critical to prevent data loss. I perform two LTO tape backups to ensure redundancy, storing tapes in two separate locations for added security.


Conclusion:

In conclusion, my experience with color grading dailies on high-end productions has been both challenging and enlightening. It requires unwavering dedication during long overnight shifts to ensure meticulous preparation. The hard work pays off by providing insight into the inner workings of a professional production team and the remarkable results they achieve. While the grading process involves broad strokes, it deepens one's understanding of the potential of primary grading tools.


Require colour grading? Let's have a conversation.


Call me: (UK) +447899841320 or (US) +18573896712

Email me: matt@mattjonescolours.com

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