Bill Ravens
Forum Replies Created
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No that’s cross checking the final output, post-render on Ultrascope.I also have Hamlet Vidscope, but, that’s unreliable as Quicktime will automatically clip 16-235.
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“Do you use the Avid scopes to monitor the levels? Do you have a way of double checking your work, or have you never had an issue and just keep doing it this way”
Yes, to all possibilities. I use Avid scopes as a matter of routine workflow. I, also, double check output files with calibrated studio monitors and BMD Pocket Ultrascope on a 3rd laptop. This entire issue is, obviously, so critical that I do routine calibration and validation runs to make sure things don’t change with new version releases.
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when round-tripping between resolve and avid, I’ve found that it’s easy to clip if I’m not careful with the exports/imports. For that reason, as a standard workflow practice, I always import/export to/from resolve with “Data Levels” (that keeps resolve from remapping levels); import into Avid with 601/709 (that keeps Avid from remapping levels); check the levels in Avid and apply legal levels before my final export to 601/709. Never had any trouble with that approach.
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Not sure what your source material is. I’m shooting CinemaDNG 2K to a O7Q from an FS700(Slog2). Applying the BMD CinemaDNG LUT is giving me a saturated picture with a definite blue balance. Looks very Kodachome 25 to my eye. Of course, it’s only a starting point, but it does point in the right direction.
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working fine for me on PC with win7-64
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huh??
10.0.2?? -
I have a BMD Mini-monitor attached to a Thunderbolt port on my PC. It works very well with Media Composer Photoshop and AfterFX. Yes, there are drivers that come with the software.
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Problem Solved:
You were right, Rohit. I was recording LTC, which reset on every clip to start at 00:00:00:00. I’ve reset to FreeRun, and all is well. On a workaround for clips recorded as LTC, the starting timecode can be reset in the properties window on Resolve. Note: If you reset timecode, don’t forget to reset it, again, on the second pass thru Resolve. -
Thanx Anish,
When Rohit asked about timecode, that was my clue. You may be right.
I, initially imported a .dpx file (cinemaDNG)and DELIVERED an OP1a file in low rez proxy, with the same name. After importing the OP1a into Media Composer, I wanted to round-trip the edits back to Resolve but, this pass thru Resolve, I wanted to link back to the hi rez original .dpx files. -
Yeah, these are straight cuts. They come from master clips A and B, both at the same frame rate. No other clips in the timeline. Clip A1 and A2 come from two different sublips on the A master. Clip B1 is a subclip on master clip B. All sublips were assembled on an Avid timeline sequence, so I assume the T/C is related to the timeline. Of course, each clip has its own T/C, but, is that relevant?
Here’s the AAF: 6823_untitledsequence.01.aaf.zip