Chris Hall
Forum Replies Created
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Love my flanders, and their customer service is second to none. I always know the image quality will be spot on as well, which is worth its weight in gold.
Chris Hall
Colorist – Basher Films
Pasadena, CA -
David, I’ve done two SD (NTSC) projects in DaVinci and have had a number of annoyances with Quicktime renders describing the exact problems you have indicated. (turning interlaced fields on and off provides different results, but neither look as good as the original footage). Also a quick check of the exported file in FCP has revealed that uncompressed and prores exports from resolve always results in an “upper odd field first” file even when enabling interlaced fields on both the project settings and the render settings tab, this is the issue I believe (but for PAL that would actually be fine, so not sure there).
My foolproof solution for both projects: use the SDI output and Powermaster to tape from DaVinci and record that signal on something else (be it a tape deck or another computer with an SDI capture card). I have a second system at the office with a Decklink card installed in it and I record the feed via SDI there in whatever format I need (uncompressed or prores). This has always yielded the best results with no interlacing issues. I would highly reccomend this for an SD project.
Note: I’ve done two 1080i projects in Resolve and they were just fine rendered out as interlaced quicktimes. Its just the SD projects that I’ve had the interlacing issues on renders.
Chris Hall
Colorist – Basher Films
Pasadena, CA -
Kevin, you bring up a really valid point, I hadn’t even given it a second thought, but your’re right, decklink doesn’t support xyz (nor does it support even 444 at the moment for that matter, which I hadn’t realized as I hadn’t turned the scopes on for the test sends to the projector… dumb). I guess I may have to rethink my xyz strategy, as the only scopes capable of monitoring xyz are expensive (the one that looks really good is the omnitek https://www.omnitek.tv/sites/default/files/images/stories/pdfs/omnitek_xr_jan08_web.pdf)
So I’m thinking that the less precise solution here is sending unscaled 444 RGB to the Christie with the xyz lut applied. Although I think the better way would be to ouput XYZ 444 (using the decklink 4K), and would just have to plunk the money down for the more expensive scope in that case.
I suppose another “budget” option here would be to work in unscaled and send XYZ to the Christie and then also send a 10bit 4:2:2 signal from the decklink 4K to the ultrascope for monitoring… not elegant, and not as precise I’m sure, but that could theoretically work right?
Chris Hall
Colorist – Basher Films
Pasadena, CA -
Kim, I’ve been using resolve since it was released last year and have gotten used to the lack of virtual track balls (i do use a wave control surface, and did before with color as well for years). Although I never manually manipulated the virtual track balls with a mouse, I did appreciate the quick visual reference they gave me for my primary adjustments. I could quickly see how far I’d gone with my adjustments and in what direction by eyeing the trackball marker and its position on the wheel. In resolve you have to look at your RGB levels for shadows, midtones, and highlights to discern what you’ve done. I’ve gotten used to it, but honestly I still miss the virtual trackball indicators as I feel they help a bit more with being a bit more precise with the “push/pull” techniques of primary grading. There’s not much room in the GUI for these with the way the resolve interface is laid out unfortunately.
Chris Hall
Colorist – Basher Films
Pasadena, CA -
let me know what you turn up, interested.
Chris Hall
Colorist – Basher Films
Pasadena, CA -
Kevin, thanks for this. Really appreciate your insights here. I downloaded the manual for the CP2210 last night and perused it a bit and yeah it looks like it has a quite a strong set of color management tools like you said (pleasantly surprised to see that actually). So it looks like a solid calibration could get two very good presets in place that are switchable without neccessarily using a davio box.
In regards to the signal for the DCI P3. I’ve only tested it twice, so far, and each time I’ve sent 444 Dual Link RGB out of DaVinci with the RGBtoXYZ LUT applied on the output. My plan is to actually send XYZ out of the DaVinci in the future though as I’d rather grade in XYZ and then apply a LUT for Rec709/RGB deliverables.
Chris Hall
Colorist – Basher Films
Pasadena, CA -
At NAB the blackmagic guys all told me that resolve would support the Decklink 4K, so should be good to go there.
Chris Hall
Colorist – Basher Films
Pasadena, CA -
I wonder if the new decklink 4K card will solve this. Dual link 444 works for you though right?
Chris Hall
Colorist – Basher Films
Pasadena, CA -
Yeah tangenet’s support was very good when my panel went down. Very good customer service and they had a replacement in my hands in less than 2 days.
Chris Hall
Colorist – Basher Films
Pasadena, CA -
Check to see if the timecode on those shots not linking exceeds 24 hours, if so you’ll have to manually relink. For example timecode recorded as 23:59:50:00 – 24:00:02:15 on the RED camera would come across as 23:59:50:00 – 00:00:02:15 in the EDL I believe, thereby confusing resolve and not relinking (it might be the other way around, I can’t remember). I have to manually relink these guys by re-editing them into the sequence. I think some people use edgecode to get around this in their EDLs.
Chris Hall
Colorist – Basher Films
Pasadena, CA