For those who don’t know the topic: The Visual Effects Society published the VES On-Set VFX Data Collection and Usage Guide to align on set capture and handoffs between production-side VFX, production, facilities, and technology teams. Specific DCC application support is not specified in the sources.

Webinar first, PDF later

If you would rather hear a walkthrough than skim a document, a public webinar runs May 12, 11:00 am to 12:00 pm PDT, with registration via Zoom. The session explores the guide with some of its creators and keeps the conversation in the open, where on set data questions belong instead of buried in a frantic email chain. Join Here

The guide’s job: stop the “what did we shoot” spiral

The VES On-Set VFX Data Collection and Usage Guide is a practical on-set resource that maps key data sets and capture workflows. Its goal is a shared playbook for productions, vendors, and technology teams to use and capture on-set data more effectively.

It aims to establish a common language between on-set VFX, production, VFX facilities, and technology teams, with the intended outcome of clearer communication, smoother handoffs, and better-aligned expectations across departments. In teh real world, that translates to fewer “we thought you had it” moments when the truck already left.

What it actually contains

The guide explains major on-set data sets, their capture methods, their practical applications, and intended stakeholders. It also documents both current and emerging on set data capture workflows and the choices that can impact production pipelines, timelines, and budgets. Included is a sample structure for directories, Reference Docs, ToDo Lists, Scope Definitions and many more usefull bits.

It also frames modern filmmaking as a hybrid of real-time virtual production, AI, and traditional pipelines, and the VFX department these days as responsible not only for post, but also for on-set data capture, continuity, and asset integrity from pre-production through final delivery. It seems the VFX department has become the primary custodian for management and tracking of on-set data across a project’s lifecycle. You wouldn’t trust actors with that, would you?

The boring parts that save your schedule

But on-set data has value beyond VFX. It states that data can support better informed creative and operational decisions and argues for open access and visibility so that teams across a production can engage with and benefit from shared knowledge.

One example is the cross-department logic: LiDAR scans created by VFX can be repurposed for set construction, stunt planning, and other production needs. Obvious, you’d think, but… That is the wrokflow reality check that makes the guide feel like a crew document rather than a glossary, and now we just have to get everybody to read and, ideally, understand it.

Credits, licensing, and the fine print you can actually use

The guide was developed over the past year by the VES Technology Committee. Its lead author is Sheena Duggal, with contributions from Sam Richards, Jim Geduldick, and Jake Morrison, and technical support from Jean-Francois Panisset.

The guide is licensed under the Creative Commons Attribution 4.0 International license, which permits redistribution and adaptation in any medium or format, including for commercial purposes, provided appropriate credit is given. So, no excuses for “Oh, we don’t have that, so we couldn’t follow it!”

Get the PDF here: On-Set VFX Data Collection and Usage Guide

And browse the Interactive Version here: On-set Data Specs

https://vesglobal.org/event/webinar-introduction-to-ves-on-set-vfx-data-collection-and-usage-guide-online/

https://ves-on-set-data.org/

The post VES releases On-Set VFX Data Guide first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

The most notable addition is the support for decoding MPEG transport stream clips (.ts), which broadens the range of file types available for use in post-production. This functionality allows Artists to work with a variety of media formats without hassle. Additionally, audio alignment has been improved when replacing clips in the media pool. This ensures that even when timecodes do not match, audio remains in sync with its corresponding clip, a crucial aspect for maintaining quality during editing.

API

The update also introduces several enhancements to the media pool’s scripting API. Users can now select clips, manage custom metadata on a per-clip basis, and set source start and end values through new API scripts. These tools simplify the handling of media pool clips and automate repetitive tasks, ultimately streamlining the workflow.

Another significant improvement is in how metadata is managed in EDL (Edit Decision List) clip names. When clips are exported, their names are preserved in the metadata, ensuring they are accurately displayed upon re-import into DaVinci Resolve. This consistency can save time and reduce errors in large projects. Moreover, the replace clip command now retains destination track settings, allowing for more efficient edits without the need to reset preferences repeatedly.

Additional updates in this version address several issues. The Electron version 31.3.1 support facilitates better workflow integrations. The speed warp feature has also been enhanced for improved quality in faster mode, which can benefit various editing scenarios. Several bugs, including audio alignment and subclip marker display issues, have been addressed, contributing to overall stability and performance enhancements.

Fusion

In addition to these updates, Blackmagic Fusion Studio has introduced enhancements in version 19.0.2. Users now have the option for simpler color swatches in edited controls, making color selection more intuitive. Several fixes address issues such as inconsistent points when using sJitter and Extrude3D, uninstaller problems on Intel Macs, and software rendering of 3D cube maps. Additional fixes cover various bugs related to color picking with CST or ACES view LUTs and improvements to OCIOColorspace transforms. These adjustments contribute to a more stable and reliable user experience in Fusion.

Artists should note that each new feature should be thoroughly evaluated before deployment in current projects. While these updates promise to enhance productivity, stability remains essential in professional environments.

The update is available for download at the DaVinci Resolve website. As always, this update is free. For those considering an upgrade, the DaVinci Resolve Studio license is priced at $295. In summary, version 19.0.2 of DaVinci Resolve delivers valuable features that can help streamline workflows and maintain audio-visual synchronization, contributing to a more efficient post-production experience.

If you prefer a list with the updates, here it is:

• Support for decoding MPEG transport stream .ts clips.
• Scripting API support to get and set per-clip custom metadata.
• Scripting API support to get and set source start and end frames.
• Scripting API support to get and set source start and end timecode.
• Scripting API support to get and set media pool selection.
• Scripting API support to query timeline clip positions at subframe precision.
• Scripting API support to append clips to timelines at subframe offsets.
• Support for Electron version 31.3.1 for workflow integrations.
• Improved quality with speed warp faster mode.
• Addressed a ripple delete issue for audio only clips in the cut page.
• Addressed issue with audio alignment when replacing clips.
• Addressed subclip markers not being displayed in the source viewer.
• Addressed metadata import not updating EDL clip name.
• Replace clip actions now retain destination track settings.
• Addressed issue with color managed timelines with Text+ losing highlights.
• General performance and stability improvements.

The post DaVinci Resolve 19.0.2 – Gimme Mpeg Streams! first appeared on DIGITAL PRODUCTION and was written by Bela Beier.