[Glenn Sakatch]

Where are you building your bluray? How is it interpreting the dnx files would be my first question.
How did you create them in Resolve would be my second question. (Auto, video,data)

Are your blacks “black” in the waveform?
Try outputting a test file of a greyscale ramp. I find that a pretty easy way to see how the blacks and whites are being affected after they leave the box.

Glenn

[Glenn Sakatch]

Set your project settings and timeline settings to 1080. There isn’t much need to “work” at 4k, unless you come across some shot that you are trying to pull a secondary on, and it just isn’t working at HD. Even then you may find no difference switching to 4k.

In either event, you will also need to setup your scaling settings. This will ensure you are not doing a center cut of the 4k footage. You probably want to force the entire picture to fit the frame. Your other option would be to fit to frame with a crop, which may or may not zoom the footage in slightly to eliminate the letterbox, depending on your source footage.

Once color is done, output your program with a 1080 raster setting in the delivery tab. If you do decide you want an UHD output instead, they you need to go back to the project and timeline settings and adjust them to UHD before you output a UHD in the delivery tab. If the project is still set to 1080, and your output is set to UHD, then resolve will upconvert the hd version to UHD, rather than just using UHD from start to finish.

The wonderful thing about Resolve is its ability to simply use math and calculate the windows you have created in 1080, and adjust them to UHD, so again, save your resources, and work in HD.

Glenn

[Glenn Sakatch]

Sorry, is OFX Animator a plug in for resolve, or are you talking about animating OFX plugins in general?

Glenn

[Glenn Sakatch]

Yes i have the Flanders for my color critical monitor, which is why/when i bought the calman setup.
and a sony 4k for a client monitor. When you first scope with Calman, you are asked to do in initial scan of the monitor to see how far out it is. The sony came in with beautiful results. I then did a full calibration on it, and loaded the LUT into a teranex mini which feeds the sony. I actually found the contrast and brightness a bit out after the lut was applied- compared to the scoped flanders, so did some minor tweaks with the setting on the sony after the fact, and got it to the point where i was very happy looking at either monitor. In my setup, the client can’t see my monitor at all, so any small imperfections become irrelevant to them, and they just become absorbed in the monitor they are looking at.

Glenn

[Glenn Sakatch]

You are basically describing an offline/online workflow, that many of us have been using for years.

It is really only within the last 5-10 years, with the cost of storage dropping to the point it is at now, that people started using high quality versions for the initial edit. (My first Avid in ’95 had 4 – 10 gig drives at I believe 10 thousand dollars per drive! So storage was at a premium.

You create small versions of your clips that take up less space, but are not as high quality. Do your edit..relink back to camera originals, and then conform your sequence to a much higher quality version of the footage that is needed to rebuild the show.

What is unclear from your description is whether you were converting your proxys to 422 or if you relinked back to camera originals first. I’m assuming you relinked to originals first, but your description doesn’t mention that step.

Glenn

[Glenn Sakatch]

I think you will find an inexpensive tv like this doesn’t have the panel to allow proper color across the whole screen. Corners are different from the centre.

I have purchased 1 cheap ($500.00)4k tv and 1 more expensive ($3500.00) 4k tv. The difference in the panel is night and day.

I’ve said to a few people…buying a $500 4k tv is a waste of $500 dollars.

For the record, I scoped my $3500 sony 4k out of the box (after turning off all the “vivid” settings and Calman studio said “good to go”. I did some minor tweaking to get it to match my scoped Flanders as best as possible.

I scoped my $500 Samsung, and it was horrible, and I couldn’t get it anywhere near a proper setup.

Glenn

[Glenn Sakatch]

Tough situation. Doesn’t sound like it is any sort of a system failure, just a lack of understanding on your part. go back up to the latest resolve, and you will probably be fine.

A bit of research ahead of time would be advised. There are hundreds of posts in this and other forums that explain the danger of rolling back a resolve version, and the fact that it is not backwards compatible.

Glenn

[Glenn Sakatch]

If you have particular production in mind, you might want to ask them what they use.

I’m sure most on this forum would say “yes learn Avid” but that doesn’t do you any good if the show you want to try to get on with uses FCP or Premiere.

Personally I would try to learn everything you can…its the way the world works today.

Glenn

[Glenn Sakatch]

By “doubling up media” I was basically saying if you were to bring in your media from the “other” bin, and consolidate it, you would then have a second version of the media, this time belonging to the current project.

It doubles the amount of media, but also allows you to stop keeping the other project online, which can be handy, especially if you don’t need all the media from the other project

Having a number in front of your name doesn’t actually do anything. Any folder name can be online. The rule is if the name contains only numbers, then Avid has Read/write capability with that folder. If the folder has any letter in it, then Avid has read only capability with the folder. There is nothing that says your name needs any number at all. The difference between Avid having read/write and read only is affected by Avids abilty to update the database within that folder. For the most part, Avid is only going to write new media to a single folder, and for most that is the “1” folder. Yes if your “1” folder gets too full, Avid will automatically create a “2” folder, and start using it.

If you make a folders called 2, 3 ,4 and 5, Avid will still write to the “1” folder, but you could capture clips into avid (going to the 1 folder), sort that folder by date created, and move all those new clips into your “2” folder. Avid will then rebuild the database on both the “1” and “2” folders to properly index the media in those folders. You can then change the “2” folder to be something like “Josh Corporate Montage” and Avid will continue to see the media in that folder.

If you then want to capture more material into the Josh Corporate Monage project, you can either rename the existing “1” folder to something else and the “JCM” folder to “1” and capture. Once the capture process is done, rename “1” back to “JCM”, and (if you wish) the other folder back to “1”.

The key for me is basically, a “1” folder is simply used as my daily working folder, for what ever project I’m on that day. If tomorrow I’m working on the same project, I do nothing…if tomorrow I’m working on a different project I rename “1” to reflect what the project is, and let Avid create a new “1” folder for my footage for the new project. Rinse and repeat.

On larger projects, I will have a “project A media ” folder. This would contain all the main media needed to work on the project, It might be kicking around for weeks or months on end. Once built and working, I might not ever rename it again, but would then start calling my daily “1” folder “Project A working” This would contain mostly renders that are not totally necessary to rebuild the project, or to be archived with the project. As well, if I forget to rename a folder 1 morning in this scenario, its not the end of the world…not that it ever is…it isn’t that hard to go through a folder and figure out what project the media belongs to and redistribute it to the correct folders, forcing those folders to rebuild their databases afterwards.

When its time to Archive, I can then just archive the “Project A Media” folder, and not worry about the “working” folder. (renders can always be recreated.) I do usually take a scan through the “working” folder, just to make sure there isn’t any actual media in there.

I would recommend everyone look through your media folders and see what is in there. As I said, it isn’t that hard to look at a file and say, that’s a render…that audio, that’s a tape capture, that’s a graphic I imported.

If 3 weeks in, I capture new graphics, or music for “Project A” then it is up to me to make sure those files get into the Project A Media folder, and get properly indexed, by renaming the folder to something with numbers only, waiting for the index to rebuild, and then renaming back to “Project A Media”

I should add that because of the read/write rules, I’ve used “1” for much of the examples, but any number will do to trigger a folder to rebuild the database. In many cases I actually leave “1” alone and would rename the folder needing an update to something like “55555” so it is easy to spot.

It takes a while to get into this habit, but in the end, your Avid will be much more organized. And when you want to isolate media for cleanup, archive or duplication, it will be all ready to go.

Glenn

[Glenn Sakatch]

You do of course have a backup of the camera originals, or insisted the director/camera/producer does right?
Anyone who thinks it isn’t worth the couple of hundred dollars to backup 4tbs worth of footage could soon learn the hard way how inexpensive an extra hard drive would have been.

You’ve used the terms export and transcoding in your posts. When you said in the original post that transcoding didn’t work, were you talking about an mxf export function, or were you going down the traditional transcode path, by selecting your camera originals in the bin and batch transcoding them? Your terminology here might just be a “ya thats what i meant”, or it could be a misunderstanding of the proper workflow for what you are trying to do. If you have corrupt clips on your timeline, or something on the timeline that is corrupting the sequence, trying to export from that timeline might not always work.

Have you tried selecting the clips in the bin and transcoding to 175 media?

Why are they corrupt?…who knows… Could be a bad card, bad copy, bad recording in the first place. It is not necessarily anything you did. Welcome to the world of working in digital media on a computer.

Glenn