[Glenn Sakatch]

Are you talking about fusion Standalone…or Resolve into Fusion.

Fusion stand alone is pretty light weight, until you get into heavy duty comps…your GPU memory may be more related to resolve than fusion.

Glenn

[Glenn Sakatch]

The lower quality file is irrelevant to anything you are doing.

Simply think of it as a master file that needs a cutdown….do the cutdown.
Now ask the client “what do you want for outputs”
do the outputs.

If the client were to say i need a version that is mxf, you wouldn’t need to ask them for an mxf version as well…you would just create that as part of your deliverables.

Glenn

[Glenn Sakatch]

unfortunately you are asking for an absolute in an area of opinion.

For sure you will get better results using the full size image inside an HD project, rather than simply zooming in on an HD shot.

Realistically you, you have to resize it untill it becomes too soft, and then back it off.

What you typically find on many punch ins is that the focus wasn’t as crisp as one had hoped for in the first place, and you are now emphasizing that fact.

Glenn

[Glenn Sakatch]

Glenn

[Glenn Sakatch]

on resolve 15 it is under “View” “Window outline” in the keyboard customization screen

Glenn

[Glenn Sakatch]

I curently have 8.5 on an imac and 2019.(2?) on a PC. They share projects via Mimic, and i routinely open them on each others computers, and (sometimes) at the same time.

Only caveat is that my PC is symphony and the imac is more basic, so any outputs (prores) that i might want to do out of the imac may have to go through a video mixdown in PC box first…if there is any symphony color effects being used in the timeline.

But from a purely open the timelines, play them, edit them close them, open them on the other box it works fine.

I think there might be an issue if you try to go prior to v7 or 6…but you should always be able to export aafs back and forth with little issues even on older systems.

Glenn

[Glenn Sakatch]

I would think your output is setup to output 6x 6 channel outputs. I would try 6 mono outputs, each selecting the track you want to use.

I’m not sure you really need to go into the fairlight tab at all for this. (i never do)

setup your timeline with 6 mono tracks, and route those on your output tab.

Glenn

[Glenn Sakatch]

True, some plugins in Avid will tell you to switch to 10 bit before using them for best results in the analyze mode.

Adding a LUT at certain locations in the node tree I believe will cause destruction of the 32 bit float theory.

Glenn

[Glenn Sakatch]

Check your render settings. Do you have flat pass turned on? (video tab, advanced settings)

Glenn

[Glenn Sakatch]

Start with a simplier workflow…don’t use Resolve color management until you understand what it is doing. Just set your color science to Resolve YRGB. (Most of these settings should be left alone for new users)

If you have a 3d lut from Calman, and it was created correctly, for your monitor, you would enter that under 3d video Monitor Look up table, which it looks like you have done.

But it is possible your Resolve color management is screwing up the input look of your original clips. Turn that off and start slower.

If it still looks wacked out, I would go back through CalMan again, to verify your LUT is correct.

Glenn