Ben Antonio
Forum Replies Created
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Not quite sure you’d be able to do this, but I think you might be able to export the sequence as an XML then import it to Adobe Premiere and link to the native .h264 files.
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I was just using it as a frame of reference for how much each compression was affecting it – not as a grading monitor. I do the actual grade on a broadcast monitor, but you can’t take a screenshot of it.
Anyway I found out the problem. Turns out, Chrome just displays HTML5 video with a slight magenta hue (which explains a lot of previous clients telling me everything looks magenta when I post).
I’ve got another quick question, though. To be extra careful my export is in the right color space for the web, I exported the sequence full range as a ProRes 422 HQ, added the graphics in FCP7, re-exported as a ProRes422 HQ and brought it back into resolve. Then added the following LUTs as nodes in this sequence: Canonlog -> Rec709, Rec709->Linear, Linear->sRGB. Was this unecessary?
I then took that ProRes file that had been through the LUTs and compressed to an h264 in Handbrake.
The final post to vimeo looks pretty close, with the typical h264 added saturation.
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Sorry, yes this is what I mean
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I was having this same problem, but I figured out that someone had messed with the drive’s folder structure. Once I reassembled it, all my clips came back when i loaded the project again.