[John Davidson]

Hello, Thank you for all the discussion on the Mac Studio. I do color grading only, no Fusion or even editing. I am still hanging on as was discussed earlier with an older tower upgraded but of course now not suitable for Resolve 17. So I am seriously looking at the Studio, but a little confused as to how to configure it. I realize I would need an external enclosure of some sort for drives and a Blackmagic interface for my grading monitor (Flanders Scientific). Just wondering if anyone has set up a configuration on what I would need to buy to run Resolve 17 Studio , 2 monitors and the Flanders?

Thank you,

John

[John Davidson]

Hello Michael, I did that on a test, but I heard that Premiere wouldn’t take in a 1 frame .mov. Do you know if it will and apply its moves and sizing back on in Premiere?

Thanks.

[John Davidson]

Hello Shane,

Thank you, I also have problems with stills coming into Resolve. I am always force linking them into the timeline. I think that it is a bigger problem with Premiere projects. It is hard for me to ask a client to make Quicktimes of all there stills. So I just was hoping there is a way to render out the timeline and have the stills be okay for Premiere.

[John Davidson]

Hello Michael, thanks for the respond. Yes it is for very simple grading and will not support curves or power windows. Good to know about Avid though.

I also wish Premiere & Final Cut would jump on board.

Thank you.
John

[John Davidson]

Hello Oliver,

Thanks for all the info. It was my understanding that it would be fairly universal as it is basic color changes, no curves, windows or secondary. It was just numbers as described in this article in The American society of Cinematographers,

https://www.theasc.com/ac_magazine/September2009/CASPart2/page4.php

As I mentioned it is kind of a reversal of the way to do things. But the reason is that I have a client that is shooting quite a lot of footage that would like to have it all pretty much best lighted foe client satisfaction purposes. But doesn’t wanted it all rendered out. Since I mainly use Resolve and it claims that the CDL will do basic color grades and is readable, I thought an easy solution. I would get a drive with the footage and an XML, load it in best light and the export a CDL and send back the drive. My client would load back in the media and it would now reflect the basic color changes. Now it looks like to 2 options I have are to send him back a Resolve project and he will have to render out the clips he needs or in the case of RED footage do all the grading in RED CINE X Pro and save it in the Metadata. Thank you again. John

[John Davidson]

Hello Oliver, that is correct it is an EDL with the RGB info and I am trying to get FCP-X to read it. It is basic grading parameters. I know that if you generate one correctly and bring it into Resolve it works. DaVinci is under the impression that FCP-X will read the info, not Final Cut 7. I also am getting feedback from Premiere that it won’t read it. It would be great if this so called universal format would be read, since they can generate them. What is the point then?

Thank you & frustrated…..

[John Davidson]

Hello Jeremy, I thought that exporting it as an FCPXML might be better for Final Cut, but not sure of the purpose of the CDL if nothing will accept it. I know that Resolve will take it in and read it. Why won’t Final Cut or Premiere? I tried Glue Tools and they responded that they actually had a tool that dealt with it but nobody purchased it so they stopped.

Thank you,
John

[John Davidson]

Well I found out that the black borders on top and bottom that come out of Resolve at 4096 X 2048 are 36 lines each.

Thank you,

John

[John Davidson]

Hello from my understanding there should be a slight black line because of the aspect difference of 5120 X 2160 to 4096 X 2048. That equates to a 2:37 to a 2:00 aspect. What I am experiencing is more substantial than that. Probably around 10 or 15 lines top & bottom. I can send you still of the difference if that is any help. Or even 1 frame Quicktimes, which a friend of mine checked at a lab for a film out.

Thank you.

[John Davidson]

Hello Peter, I took in the test session AAF and the linked media. All seemed good.The media all seemed in order and correct timecodes. Rendered it out for Avid as 00108000.mxf. Again all seemed good although I had no way of looking at the file. So here is the question I get back from the editor?

Hi John,

I downloaded the file you made from YouSendIt. I think that you may need to make an AAF file for me as well–Avid sees the file you sent me as just a media file and I believe it needs some metadata (a sequence or clip) to link to that media. Can you see if you have the option to export an AAF file after you do the color correction work? Thanks.

Steve

Is there a way to give him what he needs?