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“Set Ceiling” like Apple Color?
The only thing I’m really missing from Apple Color was the ability to Set the Ceiling and Floor for the grading. Essentially setting the clip point so nothing could go above or below those settings.
Is there such a setting in Resolve? I only see “normally scaled legal video” but if there a way to set that manually? With Color I always set my ceiling at 99. Would love to do the same with Resolve. Thanks.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media -
11 Replies
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Scaling does that i think ? Just the level is preset.
You could make lut that has levels fixed and then use it as your system / project input or output lut?
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Margus
DaVinci 9, OSX 10.7.4
MacPro 5.1 2×2,93 24GB
GTX 470 / Quadro 4000
Multibridge 2 Pro -
Try pushing your levels in a test clip above and below normal levels and see what happens.
I can’t seem to push anything above either 0 or 100 in Normally scaled legal video, so I assume there are hard limits preset.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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it may be that a track based correction could be used in similar way to limit the whole piece
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Honestly cannot force anything outside legal video, but I didn’t know if that was just a scope thing or there is truly a hard video limit.
If I turn off “Normally Scaled Video” it does the same thing. So is this truly clamping or just the scopes clipping off?
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“This American Land” – our new PBS Series.
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clamping.
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Margus
DaVinci 9, OSX 10.7.4
MacPro 5.1 2×2,93 24GB
GTX 470 / Quadro 4000
Multibridge 2 Pro -
[walter biscardi] “So is this truly clamping or just the scopes clipping off?”
External scopes reflect that nothing goes outside 0-100, so its a possibility that linear video only exists between 64-940 (10-bit) in Resolve. No 63 or below, no 941 and above.
Likely if your source media is linear video, this behavior is in the DNA, so RGB raw and dpx full scale may behave differently so super-White can be exported to DCP or filmout. Hasn’t been required around here.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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walter -you can do what ben suggests if you want to be a little more conservative.
Switch over to the track level and then apply a new node. Go into your clip controls and dial back the top and bottom as you see fit. you can also soften this out so its not a hard clip.
Just keep in mind while legal levels does what it says in my experiance RGB gamut issues can still get thru. Thats why in our workflow these days we still play out through a legalizer to a hard disc recorder that can do any flavor or prores/dnxhd etc
Robbie Carman
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Colorist and Author
Check out my new Books:
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[Robbie Carman] “Just keep in mind while legal levels does what it says in my experiance RGB gamut issues can still get thru. Thats why in our workflow these days we still play out through a legalizer to a hard disc recorder that can do any flavor or prores/dnxhd etc
“Yeah, that’s what bit us too recently. Honestly never had those issues with Color and was hoping for a “Global Ceiling / Floor” setting like I did in Color so it was just “set it once and forget about it.”
I’ll play around with your suggestions, thanks guys!
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“This American Land” – our new PBS Series.
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this is why i pointed making soft lut for that and having it always on output in config
i have not used it myself like this but could work in theory.—
Margus
DaVinci 9, OSX 10.7.4
MacPro 5.1 2×2,93 24GB
GTX 470 / Quadro 4000
Multibridge 2 Pro -
I’ve actually exported things through color after using DaVinci to grade just to get the ceiling, and more importantly for gamut issues, the floor. I really don’t understand why there isn’t a broadcast safe panel on the delivery panel. I know evy broadcaster has slightly different rules, but it just seems ridiculous that in this day and age one STILL has to use a hardware legalizer, or be ridiculously diligent with QC to avoid gamut issues especially on aggressive grades.
Joseph Mastantuono
http://www.goodpost.net
Color Grading & Post Production Consulting
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