Chris Martin
Forum Replies Created
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Working full range internally but grading sdi out to head range. Since Resolve’s lut is based on full range it can’t do a proper transform of decisions made in in 64-940.
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We don’t get a proper transform using the Resolve preinstalled 709toXYZ LUT on projects that have been graded to 709 SMPTE Head Range (64-940) viewing environment. My guess is that the Resolve 709toXYZ LUT is not accounting for making color decisions at Head Range.
Chris
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Did you chop it up just in a timeline in Resolve? Usually using scene detect Resolve doors a good job of identifying frame rate for you and confirms frame taste upon saving an edl.
Your safe bet it to start a new session and use scene detect for the QuickTime and confirm 25fps upon saving del (I like to play through a preconformed QuickTime in QuickTime viewer while cross checking scene detect. Then use edl for preconform and use manual color trace as Juan suggested.
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Yes has to be single clip mode render to bake the grain in.
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I’m not a workflow ideologue by any means but one of the great strengths of Resolve is the ability to work with the source camera footage. Anytime you conform in another system that is then reliant upon quicktime to create an intermediary quicktime to then do final color on you are going to run into these problems.
Perhaps v10 will bridge the gap and do away with a good few of Resolves conform short comings. Your conform seems fairly straight forward in terms of Resolves conform tools. If speed changes are the only missing piece what I like to do is conform to camera original in Resolve and then export out clips that need speed FX outside of Resolve. I can hack through After Effects well enough for speed FX so I choose to use DPX frames since both Resolve and AE can read/write them. I then bring the AE speed FX back in as a top layer over the camera original in Resolve. I’ve never had a gamma/color shift using this workflow. In that way Resolve is the hub and is doing all the transcoding if there is any.
Plenty of ways to do it I know, but as a colorist first and foremost this is just my 2 cents as far as coloring from camera original.
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James, wanted to make sure you realized that you can add handles on export if you are delivering with source meta data. If you have tracks or keyframes you’ll get pops going this way but otherwise ot’s way easier than creating a session with handles. If you have a few shots with tracks etc, I just copy and paste at end of the same timeline and manually extend handles.
Chris
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Are your versions just different looks or are they due to needing different grades for multiple selects from same source clip?
If sorting the versions is too much headache, what I would do is take your hero session with final grades and grab middle still frame of all (in your canvas menu) to a dedicated gallery page. Then on your handles session you can unkink so you are using logical grades and just paste grades from gallery. If you have lots of tracks you’ll lose them this way FYI. There’s other ways to do this but this way is easy and direct.
As for your force conform there’s no way around that if you had to force conform in first place.
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1. Using Avid EDL Manager, open the Avid Bin containing sequence you are to conform and color. Confirm project’s working fps.
2. Generate an EDL food each video layer. For multi layer sequences all you have to do is change V1 to V2, etc. We like to use file 16 or file 32 format for file based workflows such as Red or Alexa as the entire file name is included for reel ID. Using standard CMX 3600 format for example limits you to 8 digit reel ID. Under settings in EDL manager always a good ideas to turn on source file in comments. Nice to see this and Resolve can be set to find reel ID here as well as backup.
3. Use EDLs to import select media only into media pool. As I mentioned you can also then use media page copy media to your local drives with clip manager. If you do this once you have copied selects over I find it easiest to just remove all the clips from media pool if they referencing from extertnal drive and then just add all folders and subfolders back into media pool. Much quicker than changing parent directory.
4. Then conform with same EDLs. Easy cheesy. If you had a lot of repos you were hoping to porter over with an AAF you won’t get those but otherwise EDLs still way more stabile than AAF with an Avid AMA workflow. When I’ve had a lot of repos, especially asnimated, I’ve done the same workflow above but I have to force conform clips to the AAF in conform. But if you have used the EDL to bring in selects it is pretty easy to sort and may be faster than manually rebuilding each repo.
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Instead of using an AAF, use EDL(s). Using EDL manager format as file 32 or file 16 to get full clip name as reel ID. You can first use EDLs to load camera original selects only into media pool to consolidate. If you are referencing external production drives you can then use clip manager to copy the consolidated clips to your local drives. Then use the same EDLs to conform.
EDLs may be limited in what info is under the hood but it is still the most full proof route to go.
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We’ve seen this as well with dnxhd QuickTime codec. I don’t think it is a Resolve issue because I have a Quantel Pablo right next to our Resolve and have the same problem.
My guess is the problem is happening during the encoding.