[Dan Moran]

Just a thought.

I’m not sure if this is application specific.

I worked on a feature film shot on Red @ 4k on a different online system. We were doing PAL copies for the director to watch in the evening and found these artefacts occurring when he checked his material on a Sony SD CRT SDI monitor.

My solution was to introduce a one pixel blur in vertical only and it displayed much better for him.

Not sure if it is the issue but may be worth trying out to see if this would give you a fix.

Hope this helps!

Dan

[Dan Moran]

On the Config page if you right click / cmd click.

Select Export +

This will save your entire project and give you options for stills, edl’s and audio etc..

You can then load that on the new machine.

by clicking Import +

I hope this helps!

Dan Moran
Blackmagic Design

[Dan Moran]

If you use output LUT’s this should include the LUT when rendering. You can turn this on and off to do both your versions. Display LUT’s will effect the graded picture you see in Resolve but the Render will have no LUT applied.

This can all be done from the LUT tab on the Config page.

I hope this helps!

Dan Moran
Blackmagic Design

[Dan Moran]

If you put Resolve into Track mode which can be found on the 3 tabs in the top right of the GUI this will let you add a node across the whole timeline.

So If you had a preset saved you could just apply this etc..

So a step by step would be
Load your material in.
Click Track
Apply your grade
Render (in source mode)

The same would work on a LUT basis also if you want to go down that road.

If you right click on your timeline on the Conform page in Resolve it will give you the option to save an EDL

Dan Moran
Blackmagic Design

[Dan Moran]

The way I like to get my material back to FCP is :

Export EDL from FCP
Conform In Resolve
Grade!

Open Render Page
Click use prefix and suffix and number of digits from source
Select Codec (I use ProRes 422 HQ)
Click Source Mode

Select Render Destination :

I make a new folder in the same destination as my rushes and call it “graded material”

Render!

Resolve will now make QT’s with the same name and TC etc as your origional rushes.

Open FCP

Make your Media Offline (don’t delete it off the disk though)

ReLink your Media but point it to the Graded Material folder

All your graded clips are now back in FCP!

Hope this helps but let me know if you need any help going this route

Dan Moran
Blackmagic Design

[Dan Moran]

The cursor button does have a great use currently..not exactly what you are hoping for but the tips may help!

If you click cursor on when using the wave and click on the viewer it will work as the color picker.

I use it quite a bit as I find it is the quickest way to turn the color picker on.

Another handy function is if you click cursor on and off it will turn off the window overlay which saves even more time.

Dan Moran
Application Specialist
Blackmagic Design EMEA

[Dan Moran]

Basically they invert the selected channel e.g. luma channel YSFX will give you a negative image which I use for inverting some old film scans.

I thought i’d never use them but……I now use them quite frequently for setting stylised looks such as a music video i’m currently working on which was shot on the Canon 7D with great old nikon prime lenses. The picture was too clean / modern for the look we were going for so I used the YSFX to emulate an old Kodachrome / vintage style look.

I’ll try to post a before / after when the piece is released.

Dan Moran
Blackmagic Design EMEA

[Dan Moran]

I don’t believe that the way Resolve handles ‘grouping’ that there is a simple way to add a corrective node to all grades to compensate for the luminance shift.

cheers

j

If you select track mode on the top of the node graph this will add a node across every clip in your timeline easily. I use it a lot for altering gamma for outputs going to different formats i.e. tape/filmout/youtube etc…

Dan Moran
Application Specialist
Blackmagic Design EMEA

[Dan Moran]

That should work currently.

If you click cursor on when using the wave and click on the viewer it will work as the color picker.

I use it quite a bit as I find it is the quickest way to turn the color picker on.

Another handy function is if you click cursor on and off it will turn off the window overlay which saves even more time.

Dan Moran
Application Specialist
Blackmagic Design EMEA

[Dan Moran]

Hi Artem,

Could you send some stills of this issue to davincihelp@blackmagic-design.com ?

I would like to take a look at these and help you out!

Thanks,

Dan Moran
Application Specialist
Blackmagic Design EMEA