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Track level adjustment as powergrade
Hey Guys
I feel silly for asking this but I can’t figure this one out. 99% of my work is broadcast here in the states and increasingly that means tapeless workflow – including delivery. Instead of being able to use our trusty DL860 we’re having to come up with other ways to ensure broadcast legality – BTW I would love to see proper gamut limiting introduced in Resolve sometime soon!
One of the ways that we’ve been doing this is using hard and soft clipping at the track level – works pretty well but what i would like to do is save that track level node as a powergrade to use on other projects so that i can have some consistency with levels. Can’t seem to make it work – if I grab a still as a power grade when I apply the saved correction even with the track tab selected in the node view it doesn’t apply there but applies the soft clipping to the clip level.
Anyway feel dumb for something so simple just trying to figure it out – any help would be appreciated.
Robbie Carman
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Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion
An Editors Guide To Adobe Premiere Pro -
5 Replies
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I tried to recreate what you’re describing, I’m a little confused now because I thought that Resolve limits blacks and whites for 709, actually I couldn’t find anything below 0, but I went ahead and put a extreme low clipping on a track level, then I saved it as a powergrade, then when I needed to do that again, I created a new empty corrector node on the track level, on the saved powergrade right clicked Display Node Graph , and dragged that correction to the track node, that maintained it throughout the track and not the clip level.
Hope that works
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Track nodes are track nodes and clip nodes are clip nodes.
You can’t use one for the other but you can build the same one there .
It will have a small T to indicate it’s a track node
Then drag it into power grades .A slice of color…
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Thanks guys – I of course understand the difference between track and clip level nodes, that wasn’t the problem for some reason I was unable to add a track level power grade. However troubleshooting 101 did a restart of the box and all is right with the world.
Gustavo – to answer your question yes resolve sort of has the ability to limit levels with the Normally Scaled option however it doesn’t appear that it does any sort of Gamut Limiting. Looking at RGB gamut on a diamond display even with that option on its possible to get over/undershoots and all the broadcasters we deliver to are sticklers about RGB gamut. Normally we’d just go through the DL 860 and back to tape but for tapeless delivery its a bit more challenging and none of the FCP legalizers seem to do anything with undershoots.
So to remedy that what I’ve been doing is just doing some clipping on the track level to hopefully eliminate or lessen RGB gamut issues. As I said I would love Resolve to have proper gamut limiting with out having to resort to a LUTs – I’m testing that workflow today
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion
An Editors Guide To Adobe Premiere Pro -
Hey Robbie,
Would love to hear your results and settings/levels with a gamut limiting LUT or track node. This problem is becoming prevalent now with file based delivery. We need a solution that works as well as the DL860. Please post your findings if you would be so kind.Thanks!
dean -
Hey Dean –
The hard clipping at the track level seems to work ok and for broadcasters that aren’t as tough as say PBS, and Discovery we haven’t had a problem. What we are actually going to start doing is a little bit of weird workflow but after testing it it seems to work just fine.
We’ve ordered a AJA KI Pro (I’m sure the hyper deck studio from BM would do the same) this box has RS422 on it so from FCP 7 you can see it has a deck (I’m hoping resolve will see it this way too). After rendering out a show from Resolve and getting back into FCP in context of text, audio etc I’ll simply patch my system output through the DL 860 to the KI Pro. Since I can be frame accurate on the KI Pro its just like a deck so I can “layoff” through the legalizer and just not have to worry about it. The cool part is the KI Pro can act like a network device so after layback to I can simply copy the file off it to a clients drive for delivery.
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion
An Editors Guide To Adobe Premiere Pro
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