Replies – Forums – Chris Dk

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Chris Dk
October 10, 2013 at 10:17 am in reply to: Full Range and Legal Range

UPDATE:
the result I got previously is under condition that :
Import footages into DaVinci, export mov files from DaVinci, and review mov files in FCP 7.

Recently I find that if I play mov files in DaVinci, they look different. Thus, make sure what software you use to preview or tape out.
Chris Dk
February 6, 2013 at 9:24 am in reply to: Full Range and Legal Range

My question is?!
What should i use if i have Full range footage and i want to do a broadcast export, do i work everything in:

1 – monitoring out option in Resolve set to Legal range (Monitor set to Rec 709 Full range with clipping ON) and export in Legal Range?
or
2 – monitoring out option in Resolve set to Full range (Monitor set to Rec 709 Full range with clipping set to NO) and export my project in Legal range?

I think the first one is right choice. You’d better pay attention when you export ProRes4444 MOV. I did a some tests for that. I import full range DPX into DaVinci, Legal Monitoring out in Resolve,export ProRes422 mov using Legal Range, everything looks fine, it looks same with monitoring full range DPX in Nucoda with 422 CGR setting by a full range projector.

However, under same settings(Legal monitoring out+Legal Range in DaVinci) exporting ProRes4444 move, it’s low contrast.

You’d better do tests before your work.
Chris Dk
January 28, 2013 at 3:52 am in reply to: Need recommendation for Resolve Workflow

Fist, set up your monitor according REC.709 standard. You will find LUT in Resolve, Logc to Rec.709. Then you need to ask facility that make DCP, what files they need. If you hand them RGB DPX, make sure inform them that they are corrected in Rec. 709 standard. If you hand them XYZ TIFF, you can convert it in Resolve too.

Council your DCP maker first, then make a pipeline.
Chris Dk
January 28, 2013 at 3:26 am in reply to: Conforming a project with no Timecode.

Resolve looks at Reels first, then TC
How? I import ARI files into media pool based EDL, Resolve confuses clips with same timecode, I really hope it can identify REEL first.
Chris Dk
January 28, 2013 at 3:20 am in reply to: Frame rate head spinner??

What resolution you want to export? If it’s 1280×720, then convert all clips conforming with it. Or you don’t have to decide the resolution first, make sure all clips have same codec, edit all of them in a timeline (1280 or 1920), clips can be fit in timeline. Then choose what resolution at the exporting step.
Chris Dk
September 3, 2012 at 8:37 am in reply to: Grading for P3 Color Space… on a budget

Usually, Rec.709 includes specifications: Rec.709 Color Gamut, White is D65, Gamma is 2.35-2.4; Video Range is SMPTE.

P3 includes: P3Color Gamut, White point is D-cinema; Gamma is 2.6; Video Range is full range

However, if you only set Gamut to Rec.709, others all same with P3, you will see litte change, more saturated fresh tone, more saturated.

If you change all options to Rec.709, you will find extremely different.

I heard that for some projectors, like Barco DP2000, the Gamut is bound to white point, if you use Rec.709 Gamut for grading, the white point will set to D65 automatically.
Chris Dk
July 30, 2012 at 7:27 am in reply to: Grading for P3 Color Space… on a budget

I see some of you say there is no visible difference between P3 and Rec.709, which I disagree. I have involved a horror movie recently, grading in P3.

After it finished, I jump the cable to our Rec.709 Monitor, you will see dramatically difference. The green and cyan part turns to be totally blue, and there is huge contrast and brightness difference.

So, for those say no visible difference, are you sure you digital projector was set to P3, not Rec.709.