Mixing For DCP - Reels or Continuous?

Question

I'm currently finishing mixing a feature which has been cut in reels so I've mixed it as such. However as it's for DCP and not a film print I'm wondering if there's as much of a need to still work in reels?

I'm about to start another project for DCP next week and am considering making my session continuous (ie the entire film in one session) to make the final screening easier and save on session organisation, mixing down and exporting/importing time.

Anyone else out there mixing features in continuous sessions or are you sticking with reels?

The DCP is definitely being made as one continuous file for both projects by the way.

Answer 1

Thanks for your answers guys - I've decided after the last job that it would definitely benefit me to work continuous for the upcoming gig. As I'm more accustomed to mixing one hour dramas I don't have any pre-disposition to working in reels and I like having all my fx, eq presets etc easily recallable (and changeable) so I think it's one master sequence for me from now on. As long as my system can handle it!

Answer 2

I keep the film the way it's delivered to me. If I get the film in reels, I import all the reels into one session. I then spot the reels to the correct timecode and import the OMF's. If you cut the reels together and make a continuous session, the timecode in pro tools would not match the burned in timecode on the video.... also if the client re-deliver's missing assets, music, ADR, etc. in an omf to you, it will end up in the wrong place in your session causing a lot of extra work and wasted time.

I usually get a continuous cut of the film for creating the final DCP deliverables. At that point I am just consolidating my stems and printmasters. And if not the editor handles it on their end.

I also think working in reels is easier on a team. Dividing tasks and setting goals for everyone to work towards, helps the project stay on track.

Answer 3

It does not matter what your time code is because ultimately your synchronisation points would be the blips at the beginning and end of the video files. This is more important than the timecode of the video file. however timecode is not completely irrelevant. Given that its a DCP you can work on either a reel format or a continuous file and it should not be a problem.