Joseph Owens
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COW Coins
16
DaVinci Coins
Forum Replies Created
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[Peter Berg] “I am just wondering why these various quicktime outputs from Resolve look different when all viewed on the same computer using the same quicktime player. I totally understand how they can look different on different computer screens… but all on the same computer screen?”
H264 is likely following Quicktime ColorSync preferences, which usually doesn’t have anything whatsoever to do with Rec709 gamut or gamma. This was a major issue and caused all kinds of grief when a lot of Final Cut editors started roundtripping to COLOR — even though there was really no choice in scaling, Apple had standardized their user interfaces on 1.8 gamma, while COLOR did everything in 2.2. This is not exactly the same problem, but it is similar.
The “same computer screen” is being fed different interpretations of the QT depending on what application is running, because they run under different rules in the OS. This is a big stumbling block for previewing exported work, because there is no control, it is system wide, and no single manufacturer is going to be able to cure it.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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This post, like a few others that I’m getting email alerts for, does not show up on the Cow forum, at least for me. Curious.
What codec is your media? Resolve should work with tif sequential files, but not graphic stills like jpg, png, tif etc.
Might be a problem with the video card if it isn’t the media.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Ryan Holmes] “You’ll be fine re-importing the master and tweaking that real quick.”
You should be fine. DLR’s suggestion of recutting the missing segment back into the original is a good idea. I often either duplicate sequences or export textless beds for multiple languages, versions and frame bases (cinema, PAL, NTSC) and haven’t had any complaints.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Clint Wardlow] “Don’t know if switch is the right word.”
As a predominantly Grade/OnLine facility, for me its not really about mass assembly or relational databases, its about round trips, revisions, versions, exports, disks, masters, archives…. so can I now master an SR tape with a discrete Surround 1-6 track hierarchy, Stereo LtRt on 7,8, Dolby E on 9,10 and described video on 11, 12 with closed captioning?
That’s really all I need. All the rest is the trombone music that Charlie Brown’s teacher sounds like.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Phil Smith] “Plus, anyone have any idea why you would convert 23.976 to 59.94? Is there any way that I can get a clean capture on this if this is what I’m seeing from the tape?”
Normally I only associate a 23.98 –>59.94 conversion as a broadcast deliverable. I hope that what you’re seeing is normal 2:3 field cadence and not some other horrible field cadence that you won’t be able to remove.
You will likely have to capture at 59.94, but if it has normal ABCD pulldown, that is fairly easy to deal with if not time consuming.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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Try adding a track.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Christian Stoehr] “I am confused that a software like DaVinci can`t integrate a limiter node or full fledged scope ?
I am waiting for the delivery of a Flanders Scientific monitor that has build in scopes, not sure if that will help ? “On item A, adding a fuller-figured scope to Resolve would eat a significant number of CPU cycles — even BMD’s Ultrascope needs to run on a separate machine not to get in each others’ way. Observing Resolve’s behaviour in Legal Video mode though, it is very difficult to generate values outside normal limits, although it can be done with extraordinary means. *Not saying that Resolve cannot generate out of gamut values.*
It would also add about $8-$10K to the price tag, considering the MSRP of a base-model TVM-900, for example.
The Flanders scopes are about the same, nobody really does YRGB parade plus gamut except the hardware scope manufacturers, with the exception of the on-screen area warnings that you can turn on in many models. However, having lurid, flashing pixels in your supposedly nicely behaving grade monitor can be at minimum annoying if not ultimately distracting.
I’m very happy having all the flashing lights and sirens going off somewhere other than my judgement view.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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Why not try dropping a clip onto a sequence, accept the Apple dialog to change the sequence settings to match the media… note the settings that Apple creates, and then use that data to create your own Easy Setup?
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Todd Horton] “I am running an older version of FCP (5 I believe) so perhaps it did not come with that 422 codec?”
That’s right, ProRes was introduced with the Final Cut Suite (version 6). You might try a DVCPro(HD) codec if you are unlikely to move onto a more recent version of FCP.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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You should post this question in either the FCX:Techniques or Final Cut Pro fora. This forum is for infinitely arguing the pros and cons of Apple itself and its ProLapse approach to ProApps.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.