[Bill Ravens]

Have you checked the SOURCE SETTINGS for your imported footage in MC? Many times MC applies an incorrect setting on input, which remaps incoming footage to the wrong levels.

[Bill Ravens]

One man production company, working mostly on documentaries and promos for private individuals. I shoot with a Sony FS700, Sony F5, or Canon 5D, capture to an Odyssey O7Q. So, all my footage is Prores 422, acquired by myself. For R&G, the FS700 is the camera of choice. For controlled shooting environments, the F5 takes the prize.

I’ve been editing on Media Composer since v3.0, but, lately, I’ve been trying to edit on Davinci Resolve 12.5. I’ve alternated between PC and MacIntosh platforms, over the years, currently editing on a PC based edit bay.

Clients vary from those that want raw, unedited camera footage to those that want footage delivered on thumbdrive, DVD, or YouTube. 99.9% of all jobs don’t require distribution, as that’s handled by the client.

[Bill Ravens]

Jacob,
The Spectracal software is WiFi aware. You install the “Client” software on the client computer, Mac or PC, connect to the computer with the cal software installed via WiFi, then calibrate.

[Bill Ravens]

I would suggest ALWAYS exporting as a Quicktime Reference file. These are very small, SAS files that require no rendering, except for FX. I would then import the QTRef file into whatever delivery application you need, whether MPEGStreamclip, Adobe Media Encodder, Sorenson, or whatever. This will save you one rendering step.

Another possibility, if QTRef is unsuitable ( QTRef output can’t be generated from AMA linked files), is to export as OP!a. OP1a exports are much faster than more conventional methods; and, keeps the wrapped files in DNxHD.

[Bill Ravens]

On the EDIT page, beneath the audio channels, there is a MASTER audio channel.

[Bill Ravens]

Here’s a method that used to work very well before BMD changed the format of the “Curves”. It still works with v12, however the scale makes it a little harder to see.
First, using the eyedropper tool, click on any part of your image that neutral in color….black, grey, or non-blown out white. Some small circle targets will appear on the gamma line in the curves window. In a perfectly balanced image, these circles will fall perfectly on top of each other.
Next, alternately click on the R, then B, then G buttons. Make sure the “link” button is disabled.
Noting the relative position of the R,G and B target circles, move each one in the vertical direction so that they all fall on the same horizontal line. B as careful as you can not to move the targets horizontally.
Doing this for middle gray is a good starting point. Repeat, as necessary for the shadows and the hilites. You’ll end up with custom R, G, and B gamma curves.

[Bill Ravens]

It’s true that Resolve doesn’t import ProRes 4444 HQ…..BUT,
it does import Prores 4444. The only difference is the bitrate….and the codec ID(FourCC). There’s a little utility that will change the codec ID from ap4x to ap4h available from VideoToolshed. After the change, Resolve(and Quicktime) will read the Prores 4444 HQ file without any negative effects.

[Bill Ravens]

The fundamental problem I’ve experienced when transferring files from PC to MAC, is the permissions. I suspect you need to allow your MAC system RW access to those hard drives and files.

[Bill Ravens]

There’s no such thing as “color temperature” in any NLE that I know about. Perhaps the OP is referring to white balance.

[Bill Ravens]

I’ve followed up with an email to you…