Thomas Singh

I usually have a gallery bin with work stills that I delete when the grade is set. For archiving I only keep the key grade stills, typically the master shots of each scene / the wide shots and sometimes some closer shots if I used more than 30 seconds to tweek them.

Hi Frank! I never delete projects as they are only reference files and doesn't take up that much space. I just organize them in folders for years/months etc. I run a backup now and then and include stills. Backup of footage is regulated in the contracts with our clients, but we usually keep it available on disks in 6 months only. For long term availability we have found that it's most cost effective (and safe) to save footage on LTO tapes, but that's just an extra service that our client pays for. In most cases it's more than enough to have a high resolution copy of the offline available on tape. Thomas

As a personal computer or graphic work I would have a look at it, but for heavy lifting I would go for the Z840.

But I guess most colorists prefer to do their main color corrections in the standalone full version of Baselight. Then you need to export files. Or am I missing something?

The Baselight-Avid workflow is probably superior, but as long as your color corrector can export MXF, you can simply set the destination to the media folder and Avid will read the files natively.

Hi. I have multiple films on a single timeline that I want to export. Do I have to add in + out points and export every film or could I automate the process? -T