[Aaron Hayden]

You rock Mike! Thanks for the Lut links.

Ideally I get to work in Rec709, but at this point I’m preparing for both scenarios.

My bay is pitch black sans the glow the console, monitors and the Ideal-Lume Pro Bias Light hanging off the back of the Flanders. I have a 60inch plasma in the room as well but I’m pretty sure it can’t do P3. In your opinion, what is the best monitoring solution at this point to view P3 in a median/small room? Reading through this forum, I feel I’m not the only colorist working in a median/small room on material destined for the big screen.

[Aaron Hayden]

Hi Joseph,

I did some research on the ACES workflow but I wasn’t sure if all the bugs were worked out in Resolve. I found a couple of older posts on this forum referencing some issues. I also was afraid of conversion issues when roundtriping to the VFX house using ACES.

[Aaron Hayden]

Also, Is my FSI 2461w monitor completely unsuited for DCI p3 monitoring and a projector is the only way to reliably view DCI p3?

[Aaron Hayden]

Thanks for your insight Mike.

The rec709 workflow you suggested is exactly what I originally wanted to do. I would love to grade rec709, have the lab convert for film, use my finished rec709 grade for my hdcamsr output. Unfortunately the client is insisting to evaluate my grade in P3 color space do to the lab’s comments that P3 would most accurately translate to what the final film print will look like, (the film print is the primary delivery format, rec709 secondary). The lab did say they can handle conversion from rec709 to film print and DCP.

I have a film out test coming up to verify what I see in my bay will translate to the film print. I would love a way to prove to the client that grading in rec709 would in the end match any grade I did in P3.

Tell me if this is a good idea or not. Grade a scene in rec709 for the lab to convert. Grade same scene in P3 and see if it matches the converted rec709. If it matches then it proves that I can grade in rec709 and trust what they see in my bay in rec709 will translate accurately to the film print.

On another note, does anyone know where I can find a P3 to rec709 conversion LUT?

Thanks again.

Aaron

[Aaron Hayden]

Thank you Eric.

Akim, try Resolve on a system with a GUI gfx card and a dedicated GPU gfx card. Resolve always runs sluggish with a single gfx card. BM had been very upfront about that fact in all their configuration guides.

[Aaron Hayden]

Jesus… I didn’t ask for a copy paste of the BM config guide. I can get that off the BM website. What’s YOUR system specs, os version, driver versions ect…

If you did list that in your huge previos post, no ones going to search through all that to find it.

[Aaron Hayden]

How about do something useful like post your system specs in detail instead of bitching and crying like an emotional teenager. Maybe then someone would be able to help you.

I too built a machine following the recommended resolve specs and mine works flawlessly.

Peace

Aaron

[Aaron Hayden]

It would be awesome if each node had a tracker input and output connector in the node graph and be able to connect a node with tracking information out to mutible other nodes.

Aaron

[Aaron Hayden]

Ok, finally figured out how to do it. Not sure if this will work on a mac as I’m running windows 7.

With both programs closed and the left monitor set as primary, open Resolve.

Disable the left monitor, this will switch Resolve to the right monitor.

Re able left monitor, wait for it to refresh and Resolve will still be on the right monitor!

Now set left monitor back to primary

Launch Avid.

Now and I can Alt Tab between both programs to my hearts content and keep Resolve on the right monitor. Running both applications simultaneously works better than expected. I even outputted a HD sequence in Symphony to tape, then switch back to Resolve and continued coloring without the tape output crashing. Avid complains every time you start it the wrong Nvidia driver is installed(It wants version 259.77) and will disable GPU enabled fx. This is probably why Resolve doesn’t see too much of a hit.

Aaron Hayden
Colorist
Gurney Production

System info:
Davinci Resolve Panel
Flanders LM2461w
Tektronix wfm 7020
SuperMicro 7046gt-trf
2 x Xeon X5690 3.47 GHZ
24 gigs of ram
1 quadro 4000 gui
3 gtx 580 for gpu
LSI MegaRaid SAS 9285cv-8e, 20 TB raid 5
Avid Nitris DX box
SDI Decklink

[Aaron Hayden]

If it were only that easy…

The idea is to switch back and forth between Resolve and Avid Seamlessly, but force Resolve to thh right Gui monitor. If I move the monitor for Resolve, Id have to move it back every time I wanted to use Avid properly. Not an ideal solution.

I wish there was a simple preference in Resolve to set what monitor the gui is displayed on.

running windows 7 btw