[Joakim Ziegler]

You can make supplemental packages for encrypted DCPs, yes. I’m slightly uncertain if the supplemental packages also need to be encrypted, or if they don’t have to be.

With all due respect, yes, you need a DCP mastering solution to do DCP mastering. Resolve is not a DCP mastering solution, it’s a very capable color correction and finishing system that happens to be able to export very basic DCPs with quite a few limitations. If that works for you, that’s great, but it’s not a DCP mastering solution.

I would never use Resolve to master the DCP for a feature film, there’s way too little control. I see Resolve’s DCP export as useful maybe to make a quick DCP to take to a screening room somewhere to check, or maybe to make DCPs for some commercials and trailers, which are extremely simple. But it’s nowhere near what you need for feature film DCP mastering.

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Joakim Ziegler – Postproduction Supervisor

[Joakim Ziegler]

You don’t really need to repackage the DCP. If you have a DCP you’re happy with, you can create supplemental packages for each language, which contain only the subtitles, and reference the audio and video tracks from the original DCP. These supplemental packages are quite small and quick to create.

Most DCP authoring systems (CineAsset, EasyDCP, etc.) can create supplemental packages.

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Joakim Ziegler – Postproduction Supervisor

[Joakim Ziegler]

Pratvish, could you tell me more about your experience with Titans in a Linux Resolve? We’re considering 4 Titan Blacks for upgrading our Linux Resolve, but I’m curious about both performance and stability.

If you want to talk in private, we could do that too, let me know.

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Joakim Ziegler – Postproduction Supervisor

[Joakim Ziegler]

There are many potential issues, and this conversion is generally not one that can be done 100% with a LUT without manual adjustments.

The difference in brightness and gamma is the most obvious, but the other big difference is color temperature. rec.709 is 6500 Kelvin, while DCI is 5800 or thereabouts. If you convert using a LUT with no white point compensation, the result will look fairly similar to your video version, but your pure whites will no longer be pure white in the P3 space, they’ll be quite magenta compared to the actual pure white of the space (and also compared many other DCPs). If you use a LUT with white point compensation, the pure whites will remain pure, but things tend to feel a bit greenish. We generally convert using a LUT with white point compensation, then do some manual color adjustments.

On top of that, things tend to require a slight saturation adjustment, depending on the material and how it’s graded.

In summary, you can’t expect the built-in LUTs in Resolve to fix this for you. You need to monitor in DCI-P3 or DCI-XYZ somehow, apply a LUT, and adjust, to get the best possible results.

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Joakim Ziegler – Postproduction Supervisor

[Joakim Ziegler]

Use curves.

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Joakim Ziegler – Postproduction Supervisor

[Joakim Ziegler]

I don’t actually know what common practice in in color correction (we’ve never had this request), but when it comes to sound for feature films, it’s quite common practice for distributors (especially international) to request the entire ProTools session on DVDs.

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Joakim Ziegler – Postproduction Supervisor

[Joakim Ziegler]

If you’re rendering to Quicktime, you can use CinemaTools in the meantime to just change the framerate of the quicktime file from 24 to 23.976.

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Joakim Ziegler – Postproduction Supervisor

[Joakim Ziegler]

I’m running Mavericks on this machine right now, and I have a bunch of NFS shares mounted. I just mount them in a script that’s basically doing

sudo mount -t nfs -o intr,hard,rwsize=32768 resolve02:/data_2 /data_2

And so on for each share.

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Joakim Ziegler – Postproduction Supervisor

[Joakim Ziegler]

Don’t use a LUT, work with curves. The trick to getting a “silvery look” is also in using curves. You’ll have much finer control over where to apply different contrast gradients, which is essential to bringing out detail.

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Joakim Ziegler – Postproduction Supervisor

[Joakim Ziegler]

With all due respect, Robert, your thread title implies that you have many basic issues you want to talk about, and then it turns out it’s just the same issue that you have talked about before. I get that it’s important to you, but other people (including us) seem to be able to work with the keyer in Resolve without much trouble, even in high-end feature film grading.

Some software packages will always be better at some things while others are better at other things, and I would not be unhappy if Resolve’s keyer was improved, but it’s perfectly usable.

There’s also the old saw about “prosumer features” in your thread title, which you say absolutely nothing about in the body of your post. What features are you unhappy about BMD adding? I see lots and lots of useful stuff, and not much that’d I’d call “prosumer”. I’ve also been very happy about BMD’s responsiveness to fixing some basic outstanding issues, including some that I know have been fixed because of my own bug reports/feature requests, like 12-bit TIFF support (read only for now, but I hope for write soon), grayscale DPX, etc.

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Joakim Ziegler – Postproduction Supervisor