Chris Martin
Forum Replies Created
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JC,
Are you making the actual DCP yourself or is another facility? If another facility is doing it then you should talk to them as it may be as simple as delivering them grading media and identifying that the working viewing environment was 709. The facility probably already has a process to transform the 709 to a DCP color environment (xyz, gamma 2.6).
If you are making the the DCDM yourself, which means creating a specific deliverable that is prepped for making a DCP, then as someone else has pointed out then you’ll need to use a LUT that properly transforms the project from one graded in a rec709 to one that accounts for the xyz color space of DCP. This transform LUT when properly used will compensate for both the xyz color as well as the change from 2.2 to 2.6 gamma environment. The great thing is this is all math and you don’t need to do any regrading to account for anything assuming you’ve been grading in a well calibrated rec709 environment and you are using a proper rec709toXYZ LUT. I know Resolve comes with a standard RGB to XYZ LUT but have not tried this one out.
Also if you’re doing a DCDM, make sure you are also delivering media that fits proper DCDM specs. We do 16bit tifs, converted to xyz color, and usually resolution will be 1998×1080 – 1.85 ratio (unless anamorphic). This means if you are working 1920×1080 you have a decision to make to either protect aspect ratio and box the 1920×080 in 1998×1080 canvas or crop top and bottom.
Still, if a facility is doing the DCP then there’s a good chance they could do all the above.
Cheers, Chris
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I was curious if anyone can confirm whether or not in v9 there are any additions to the conform process that are specific to adjustable opacity settings for composite modes. This would be a wonderful addition as this would allow for better problem solving simple tasks that arise such as lower thirds and titles. It would be nice to do this in conform instead of using key mixer in color process.
Cheers, Chris
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John, couldn’t have said it better myself. Amen!
Cheers, Chris
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Agreed. More keyboard/panel and less mouse always gives a longer lifespan to a colorist.
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Assuming you were grading in rec709, 64-940, it sounds like you’re getting quicktimes that are getting stretched to full range (0-1023) rather than SMPTE (64-940).
If you graded in rec709 then hopefully you had rec709 selected as an output device transform in the settings.
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Ryan, that is exactly why I posted the question – I cannot do a test because as soon as I switch to full res decode the system locks up and I cannot render out.
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Found my answer in BM user manual (not always the case)…
“The decode quality will have a direct impact on the performance of the system, so you may want to grade in a resolution which provides real-time playback, then use the config settings to switch to a higher quality/resolution for rendering.”
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Thanks Juan. I was hoping someone could still confirm if these decode settings do effect the renders or if it just is relative to playback.
I can live with it set at Quarter Res is it’s just relative to playback. If it does in fact effect renders then I’ll need to address…
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Thanks. Funny they have a downloadable PDF – all they needed to do was mention this when covering Power Curves in the manual, but guess I was crazy to think they’d put it right there next to all they other parameters.
FYI, I’m a mac/windows schitzo. One day it’s Resolve on Mac, the next a Pablo on a windows…
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What sort of timeline does the project have after it’s colored? If there is a short finish window and there are a lot of FX works that need to be rerun back through AE then the timeline may dictate going with you grading a flattened sequence at 1080. If it’s broadcast 1080 you can get away with this but if you haven’t already make sure you see what the AE debayering of R3D’s at 1080 looks like before you say yes.
If there is a timeline that permits it’s always nice to go back to R3D files.
Did they do anything other than relinking to R3D files and executing image repositions in AE? If so not sure why they did nto skip that and go straight to you and Resolve? The xml from FCP ports over the image repositions just fine into Resolve. Then you could render out final graded shots at 1080 back to FCP, AE or wherever it is being finished.