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Normal / Full Range
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[stig olsen] “Ok, but I think you can work full rang anyway because that way you can scale the full range file to legal levels in any mastering tool outside of DaVinci.”
Hi,
as I under stand it:
You work always full range in Resolve because that is the workspace and this is always shown in its internal scopes.
Render to legal values for video or monitoring legal values for video does not mean to clip anything but transfering bit-values from 0-1023 to 64-940. That means ‘real black'(and white) is now represented by an other bit-value.
For some reasons 64-940 is the norm for broadcast video, thats all 🙂
Seeming disadvantage is that you loose 147 steps from black to white but on the other hand it’s well confirmed that the human eye can’t perceive more than 300 (or something) steps from a scale.
So the important thing is only to label and determine right and to deliver clients the expected range.K.
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I have delivered commercials working normal range. But each time when watching them on TV I have noticed that some of the commercials before and after had purer blacks. When I delivered today, my film was the only one with legal levels. The rest of the companies included Stop delivered full range. Maybe Norway accept full range pictures, I cant think of any other reason.
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Hi all, Joseph has the most accurate description just above this post. If I can add;
Most digital image processing systems use the full range of code values to describe the signal. Let’s assume the range is 0-1023. Some inputs are not at this full range, some outputs are not, they are often at what’s knows as video levels, 64-940. Your HD-SDI monitor will likely expect 64-940 to display a Rec.709 signal accurately.
It might seem ideal for TV work for the image processing to only work at 64-940 internally. Video range in, process and out. This however limits the range of control you have and also does not fit the full range you would get from a film scan, VFX or the like.
What if you are grading a film project and need full range 0-1023, then want to make a tape dub? That needs to be at 64-940. The image just needs scaling to video level which the DeckLink does. In this case you don’t want to process in video level and regrade the images just for the tape dub.
In Resolve, we process in full range, but we allow you to set the tape I/O and file I/O, and the monitoring to match the limitations from outside sources/devices.
In regards to where to set the switches… if you have a standard Rec.709 monitor, you need video range for that. If you are sending images from Resolve to another device to finish, like a Flame or Smoke, render and send full range. What you will see on your grading monitor is the scaled representation of the full range that the Flame wants to use.. its going to process in full range too. If your monitor permits full range use that. Resolve does not know that your monitor can accept full or video range regardless of the 444,422 setting. You need to set that. 422 does not mean video range so Resolve can’t decide that for you.
Regardless of whether Resolve or the Flame etc is the final mastering device, its at that last step that you want to ‘deliver’ in the final format you need and most times you want full range data levels for all the processing steps before then. You may be monitoring using video levels but each device would have full range in and out till that last ‘deliver’ step.
Peter -
Thank you Peter
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I am doing it also like this. viewing in legal range, grading full range DPX scans, exporting in full range XYZ Tiffs for DCP. It works pretty good! Just be careful not crushing the blacks to hard, what you see in legal range as little clipped in full range DCP it will be super deep black.
Is there any difference on using HDMI or HD-SDI from DeckLink 3D in manner of full range? I am using BVM CRT in legal range, but would the BT300 have an option of setting the signal to full range or video range, but it just clips, it does not work the proper way. I assume it is because of HDMI signal, would i need to use HD-SDI-DVI or HDMI box, as HDlink perhaps?Color grade reel: https://vimeo.com/15480583
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Thank you Peter, I think I understand what you are saying.
When you say that “its at that last step that you want to ‘deliver’ in the final format you need and most times you want full range data levels for all the processing steps before then” you actually mean that we should export full range if (lets say) the final output is done in Flame?
If that is my workflow, doesnt that basically mean that I should monitor full range also, to have full control over how the image will look in the next application? If I work and render full range, but set monitor scaling to normal – I have no idea how the full range file will look.
Like teo say ” what you see in legal range as little clipped in full range DCP it will be super deep black.”
This is what I want to avoid. I cant look at legal levels when grading, for then to export a full range image where the blacks appears different.Maybe Im missing something here 🙂
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[stig olsen] “Maybe Im missing something here :)”
as i told you few weeks ago …yes you have no clear ideas about this concept , i tried to explain it and you have been rude .
g
Davinci Resolve Control Surface
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Ultrascope -
Gabriele,
Its been a long time since I stopped listen to all that nonsense you are serving on this forum. There are enough of well skilled technicians here that is more than willing to share their experience. Im grateful for that, and I dont miss your voice. Not this time either.
Stig
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great
will never answer you anymore .Davinci Resolve Control Surface
MacPro
Cubix desktop 4
2 Red Rockets
GTX470+GTX470+GTX470
24GB RAM
HP Dreamcolor
Panasonic 58PF Plasma
Ultrascope -
Couldnt agree more.
A slice of color…
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