[Jay Moffat]

So the problem, unsurprisingly lies in FCP. When separate audio files are imported into FCP..they take on the frame rate of the default Audio/Video settings setup in FCP, regardless of your sequence setting.

See bottom of page: https://library.creativecow.net/lyon_matt/fixing-fcp-assets/1

I knew this should have gone on the DS…crikey…

J

[Jay Moffat]

USB vs Ethernet, it’s not an issue if it’s set up correctly, and setting it up is very straight-forward, I use the JL Cooper Eclipse and it starts up first time everytime, I also used to use an Euphonix and had absolutely no issues what-so-ever…

With regards to the Element, better wait until it comes out before applauding it.

J

[Jay Moffat]

Having the same problem here, so far I’ve not found a way to scale to Renders to legal video with a Resolve LUT… I’ve also been testing various renders from Full Range DPX in a Full Range project, regardless of the render format it renders out Full Range, QuickTime (Prores or Uncompressed YUV) is still in full range, not Legally Scaled as far as I can see…to put it crudely, all renders look washed out and require scaling…

J

[Sascha Haber] “I actually like the fact Resolve works (like Scratch too) internally in full and the Decklink changes the SDI output to broadcast legal.
That is very usefull for recording to tape or into and AVID or something.
However, file based productions sometimes require the digital format to be legalized even when afterwards broadcasted just into the interwebs.
Resolve provides two LUTs that sound promising, DatatoVideoSCALE and DataToVideoCLIP.
You can either load em into the track or directly into the output LUT tab and enable show LUT on scopes.
However, I think the SCALE LUT is wrong, it doesn’t scale it clips too.

Maybe someone official could correct me on this, or check the LUT ?”

[Jay Moffat]

Hi Charlie, you may know this as you’re dealing with it…and I’m sure will illuminate this thread…

A Mixed timeline of Full Range and Legal footage for final versioning of Legal and Full Range output… Do you use a LUT on the Legal Video so it is sits as it should in a Full Range project, then render two versions, one Full Range and another with a scaling LUT for the Legal Video versions?

Resolve has no scaling LUT (‘Full Range to Video’ or ‘Video to Full Range’) which works that I can find…

J

[charlie edison] “I use unscaled and render xyz 16bit tiff for dcp encoding and the results are spot on!
I’m not sure why you’d want a rec709 lut on their unless the guys doing the dcp have asked for it.

Stick with unscaled xyz for dcp and render RGB10bit with the rec709 lut for tape deliverables..”

ega

[Jay Moffat]

Hi David, I’ve tested this on 8-bit and 10-bit Broadcast monitors for you…Ultimately though, if this is intended for broadcast or projection, your results should only really be taken into account on the external display, if you need it for web or other potential 8-bit environments, perhaps consider dithering the gradient (adding a bit of grain) in AE or something like that

On both displays the unrendered gradient ‘slug’ in FCP results in banding on the internal canvas as well as both grading displays.

When rendered out and imported back into the same sequence:
1. No Banding on the 10-bit Grading Display
2. A bit of Banding on the 8-bit Grading Display
3. A bit of Banding in the Canvas

In all cases the unrendered ‘slug’ from FCP results in a more pronounced banding than the rendered version

Hope that helps.

J

[Jay Moffat]

Hi there, has this been fixed in 8.0.1?

[Jay Moffat]

Hi Rohit, has the tracker used in conjunction with dynamics been fixed in this release?

J

[Jay Moffat]

For a small studio this seems like a good deal at first, a much larger panel for getting a sense of scale, deeper blacks, more wow for the client, but the costs seem to add up quite significantly in the end, with the probe, initial and regular calibration, and what seems to be some inherent shortfalls of this technology for consistent image feedback, or am I wrong?

Larger post houses seem to be using them all the time, especially for 3D…but I’m thinking that especially the investment in a probe for multiple stations seems more feasible than for one monitor in a single station studio?

My interest, as probably with many others here, also lies in DCI and Film-out applications, as well as Network/broadcast, but both applications these days are quite rigorous quality-wise…

J

[Jay Moffat]

For the entire timeline you can do this on the track tab, but just for a collection of shots then a group is probably your friend, however you need to be careful with this, if you go wrong you cannot undo, there is a good link on this below which explains it better than i can here quickly I think, and is pretty much an expanded version of what Michael says above:

https://vanhurkman.com/wordpress/?p=692

J

[Jay Moffat]

Hi Stig, sounds like LOG footage to me, if it is, you will need some sort of LUT to grade it.

J