[Dermot Shane]

I’m not front of my machine today… so from memory…
open OSD
select color space
select 709
write down everything
step back
select user7
input the noted settings
step back
toggle between user7 & rec709 to confirm that all is identical
select user7
set gamma to 2.2
step back
run the callibration software

this is what i have in my “user7”, but i normaly run in 709 or P3 depending on the project, for web deliverables i will do a QC pass with user7 tho

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[Dermot Shane]

A bit late now, but you can copy all settings to ‘user7″ and then have control of gamma from there.

Last night I was at the preimere of a feature i graded using my Dreamcolor, and the projection was spot on, tracked the colors and gamma really, really well.. what i graded showed up on the screen.

That always makes me happy!

d/

[Dermot Shane]

I used a utility that is bundled with Avid DS, called “LUT builder”,
– i exported a 16bit TIFF of a frame that it generates
– had it injested into Apple Color
– the colorist there applied the LUT, rendered out a 16bit TIFF from the transformed frame
– i injested the transformed frame back into LUT builder, and it generates a 64×64 3D LUT

The footage is not likely to be allowed to be posted in the interwebnet, from past experiences with these producer’s.

The accuracy of the LUT was only confirmed by seeing identical pixel values with the picker’s in both systems.

We didn’t make a huge deal about accuracy as it’s an input LUT to be a base to start from, not a output LUT that HAS to match a known display

I do not know what one of the two LUT’s the Color artist used to generate the transformed image.

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[Dermot Shane]

I’m assuming we are talking about the Technicolor gama curves & LUT’s for Canon cameras? yes?

the significant diffrence i see is that with a canned LOG to 709-D65 LUT is the skys had a cyan tinge, and with the techniclor LUT the sky’s are a fluffy blue, skin tones are not far apart, and the shadows are a bit more blocked up in the standard LUT.. nothing that cannot be recovered, but a better starting point (unless you want cyan sky’s & chunky blacks)

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[Dermot Shane]

I have it in .txt format, the same format as Iridas use, can you use that?

i used DS’s Lut builder to create it from a transform in Color

d/

[Dermot Shane]

Here’s a slice of real world context, and what Resolve might do better..

I reviewed a film with producer’s, the ONLY comment on all five reels was that the animation on the head title was getting lost once the shot was graded to work in context….

Fortunatly the glows were created in GenArt’s Monsters, and fotuntatly i can open up monsters settings created in DF in my machine, answer was to import the script, adjust the element over top of the clean/textless, cut back into timeline and render the shot.. bingo we were all on the beach in 15 min

being able to use Foundry & GenArts plugs would be a huge good thing, as would being able to use the 3D trackers in 3D space, most useful for sky replacements, and that’s something we do alot of with digital camera’s. 3D trackers are great, but at the end of the day you can only use them inside a 2D enviroment with the current resolve, and you can’t use lights on them

Adding grid warps, lighting and textures also helps in finishing/gradeing.. and needs a 3D workspace as well… closer to Pablo / Mystika / Smoke(on Linux) / DS / dear departed Cyborg2K in terms of world view…

I know Resolve’s base is a single purpose tool for the specialist, and i know my world view is that of a generalist… but most toolsets do seem to be inching towards the generalist.. do you think Resolve is well advised to lead or closely follow, but not ignore this? I do.. i would like it to be at least close to my current tools, with better gradeing than they offer.

As it is i likely will get one due to the amount of indies, editors, DP, and director’s that are already using the 1K version or free version to pre-grade… the question i have to still answer is do i go for the Linux that seems to suit my needs best, but i see as quite limited tool.. or get the Mac version for minimal outlay and get the show through Resolve quickly, use it as a conform tool with CDL only – and then into tools i can really work with?

So at the end of the day, having nodes on offer is a useful tool for me, haveing them fully functional is even better, and might be a tool i could base my workflow around in the future.

d

[Dermot Shane]

For me (and i should note again – I don’t use Resolve yet) with the tool set i use today, the nodes are an entry point to a great paint system, some 3D tools, and plugs from GenArts and Foundry.. layered timelines get pretty messy with a ton-0-stuff on them… and a ton-0-stuff is the look that makes DP’s & producer’s happy.

Also i use a pen & tablet rather than a control surface, so playing with the nodes is fairly easy / intuitive with my set-up

Lack of plugs, 3D & paint in Resolve is drag for sure when you are used to haveing them at your finger tips.. but with the rise of folks doing pre-grades in Resolve on Mac, it seems i need to get one up and running to appease my clents… i’m looking, think, evaluating.. thinking i really should have the Linux version, figureing out how to see an ROI.. i digress

Nocoda, Scratch, Baselight, Luster are not driven by my clients… Resolve is…

The upcoming IBC will probaly see some more tools that are tightly intergrated between finishing / VFX / color… what Cyborg2K was pointing the way to a decade ago

And what i hope Resolve becomes for folks like me who work mainly on indie features

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[Dermot Shane]

Been a good read… i use very similar nodes as my base to start a show with the tool set i am using. Today i’m heading in to screen a feature for myself, last weeks work, ahead of a producer screening in Monday, film reel outputs are starting Monday evening… 100% of this show has node based color correction

i don’t use Resolve (yet) am evaluating it for my workflow and ROI…. but without nodes i would be much less interested in Resolve… so best for me if BMD turn a deaf ear to Mr JB’s wishes, dreams and desires.

Nodes are key to creating the style of work that my clients are asking for, and that i am happy to provide.. i have a client base that for the most part is very experenced, and are looking at tools that can encompass work beyond what the trad “color suite” can do… works for me.

d/

[Dermot Shane]

Andy;

yea… Not even a complicated way…. i wish i could fly comps between Nuke & DS too

Grasping at straws.. if it’s 422, one could try to pull each layer seperatly to a MXF file using “timeline to MC”, open up all the timelines in MC, export AAF and see if Resolve can make sense of it… but that’s a bit of a science project at best

Good luck

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[Dermot Shane]

Not a chance… EDL & media only

Not any better with Smoke/Mystika/eQ either… there’s no protocal to move complex comp’s around between any of the finishing systems, you would have the same issues moving nodes from Resolve to DS

Why not grade in DS? it’s more than up to the task….

d/