[Ernest Savage]

Thanks for the reply guys,

Turns out the file is in fact interlaced, although Telestream couldn’t tell me that. Only one app, compressor indicated that there was a top field order, though it still said it was progressive. So I was able to de-interlace top field first, in interpret footage and it worked. Just have to cut in the shots that I need now.

No way to get original footage.

What do you guys use to analyze files, especially corrupt headers? I used to use videospec but they are no longer updating for newer OS.

Still confused how AE was able to de-interlace the file, and add a nice little motion blur when playing out SDI? I captured to same format QT on a blackmagic SSD drive and imported the quicktime and it was fine. See screen grab below. All I did was interpret footage, change timecode from default to next radial button down which AE said was changing TC from 29.970 to 29.97 (so nothing) and drop the QT into a composition. I would have ran with this if AE could have maintained real time playback:

[Ernest Savage]

Thanks, I tried a dynamic link, but clip interlacing lines returned in premiere. It turns out the file is in fact interlaced, thought only one app would tell me that. Still confused as to why playing out SDI allowed AE to de-interlace the file, without me telling it to? Again play out was great, if I could have maintained realtime playout. Wondering if it has anything to do with the motion blur settings in the advanced tab of the preview settings?

[Ernest Savage]

Hello,

So I would like to use this signal path for my Resolve setup. HDMI out of my Decklink 4K extreme, HDMI into an eeColor LUT box, HDMI into a final generation Samsung Plasma.

Black magic website says the HDMI out is 10-bit RGB in HD, 10-bit YUV in 4K. Does this matter if my calibrationist is shooting for Rec709?

Thank you.

[Ernest Savage]

Hi Brandon,

Does Resolve auto output an XML when converting to intermediate codec? You mention “resulting XML.”. Or do I have to additionally export an XML form the timeline?

Thanks.

[Ernest Savage]

thanks all for the responses. will test each method on a short reel. probably leaning toward rendering out DPX.

I’ll be exporting the XML from resolve, since I had to replace so many clips from the FCP XML. What’s the best format to export from resolve, to reimport into resolve? leave it in FCP 3?

[Ernest Savage]

Dear Fergus Hally,

Did you ever figure out a workflow for

“making a clean project based on the fixed conform/s would be something that i would love. add the usual with or without handles, whole clips or trims and you have a way to consolidate that ticks all the boxes.” ?

[Ernest Savage]

Danny, I’m going to play with the node structure you sent in the png. Looks like my matting is going to have to get a little more sophisticated.

[Ernest Savage]

Thanks you guys. That is the trick, create you tracking on one node. Create another node. Pipe the tracking with the blue arrow to second node, invert key, and color that node.

Thanks, I knew there was a way.

[Ernest Savage]

Thanks for the confirmation. Several people have chimed in and all agree. Work in Rec 709 video levels (64-940) and let DCP house make the conversion. They say there will be about a 4% difference in contrast and chroma. Hopefully it’s not enough for a regrade.

[Ernest Savage]

Hello,

After reading a 100 or so blog posts, I think I have this answered, but I have a few questions.

Background:

Shot Arri Alexa ProRes 4444 2k – ingest into Resolve – grade – output to Bluray DVD/web for festivals screeners and finally to DCP for digital projection at film festivals.

System config:

Resolve 10.1 – Decklink Extreme – HD-SDI via BNC cable – Panasonic BT-LH 2600W.

The process I should follow?:

I understand the difference between Rec709 video levels 64-940, and full range data levels 0-1023. From what I’ve read in the blogs, If I’m viewing through my HD broadcast monitor (the BTLH), then I need to set resolve to Rec 709 video levels 64-940). After grading, the DCP house says I should render out full range TIFFs (since they are 16 bit and DPX is lower, 12 bit, or 10 bit). The DCP house will then convert my blacks from 64 to 0 and my whites from 940 to 1023. The DCP house says they should able to match my look within a 4% margin of error.

My questions:

When I set Resolve to Rec709 FULL RANGE, instead of VIDEO LEVELS, I see the darker blacks, in my BTLH. What am I seeing? The image seems to represent more accurately what I’m seeing in my internal resolve scope. In other words, when I bring my blacks close to 0, and Resolve is set to rec709 full range, the image in my BTLH looks like the blacks are close to 0. When I set to video levels, my image looks washed out compared to what my internal scopes are representing. I know Resolve always works in 0-1023, but what am I seeing in the monitor? Can the BTLH represent 0-1023? I’m pretty sure not, but hoping some how it does.

Should I just work in Rec 709 video levels, use external scopes, and let DCP house adjust my blacks and whites? How will chroma be affected?

Thanks, you folks are a wealth of knowledge.