Chroma Check

[William Edwards]

I guess an obvious follow up questing is, why can I see more with the Avid scopes than Resolve’s?

[Margus Voll]

What file type you are using ?

Some files do lift a bit.

Even 1% “over” would kill it.

—

Margus

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[Stig Olsen]

Hi William,

You should never use AMA to import material to Avid!
If you do, you have a graphic/video-level source editor in the bin.

Since Avid works in video levels internally, you need to set the monitor options in Resolve to normal and export MXF directly to the AvidMediaFiles/MXF/1,2,3 etc – folder.
The white and black levels will match up perfectly between 16-235.

Do NOT apply a broadcast safe, as it does not remap but clip your levels and chroma.

The

[William Edwards]

Hey Stig,

This would even happen with AMA then import, then check that imported clip?

It’s the RGB chroma values I’m looking at.

What workflow would you recommend? Auto on clip import in Resolve, then export at ‘scaled legal video’? Or Video on clip import in Resolve?

Yes, the broadcast safe filter does clip. This is a good thing in case there’s an errant pixel that Resolve might have missed, correct? The problem is that I’m seeing too much remapping of the RGB values (in this particular case it was too much green color in the low values).

[William Edwards]

PS I’ve had clients ask me for ProRes for Avid out to Broadcast before, and I bet that was AMA’d then imported. This is the first time I’m sending it out to Broadcast myself.

[Joseph Owens]

I find it very difficult to export out-of-gamut values from Resolve.

Because I do send a lot of material back and forth between FCP, Resolve, and Symphony, the RGB conflicts are a little more familiar. Almost 100% of the time, the values jump because the full-scale RGB and linear video 709 scaling gets confused. Particularly hateful when a VFX house exports things in Animation.mov or ProRes4444 because its “better”… and what gets screwed up is the image values get very distorted, and not in a linear way (gamma is not correctly computed). This is also why your broadcast legal solution is not the correct choice as a fix.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Mikee Carpinter]

Hi there
Are you saying that once grading is done in resolve then exporting a pro res master file and AMA into avid is incorrect?
I do this everyday and deliver to networks and never had issues and had compared my pictures from MXF and Quicktimes and they are identical.

[Stig Olsen]

Hi Mikee,

AMA is resource hungry and drive speed dependent, and will not work properly for some.
MXF is way faster and the most reliable way of dealing with material in Avid, and is trusted in most professional facilities,
I recommend that you only use AMA to select clips, and transcode/cosolidate to MXF.

But hey, whatever works for you.

Stig

[William Edwards]

Hi Joseph,

What would you recommend?

[William Edwards]

Yes, that’s what I’m saying.

It’s kind of odd, because the ‘alarm’ in Avid doesn’t go off, yet the scope in Avid tells me that my chroma levels are too low, and the RGB alarm on my FSI monitor does go off.

Strange?