[Joseph Owens]

[David Schweitzer] “The original was 16mm and was shot @ 24fps so 2:3 pull down is present.”

How long is the show? The interlaced field boundaries will make some corrections “pop” if you can’t set the proper field for the correction to kick in. If the project is short enough, it would be tempting to try to get back to a 23.98 frame base. There are advantages – lower bit rate for streaming, fewer frames, true progressive….

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

Are the rendered files in a numbered directory under the /AvidMediaFiles/MXF/(#folder) hierarchy? That is the only source link path that AVID will work with.

If there is a .mdb file inside the # (numbered) folder, drag that into a Media Composer bin. The media should import and you can drag all of those onto a new timeline.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

Type C. Hmmm…. analog composite. Just out of curiosity, Sony or Ampex… or… Hitachi?

That you have a 10-bit uncompressed file is probably wasted space, considering the original.

It would just be my approach, but… first impulse would have been to digitize ProRes4:2:2 uprez to 1080 on intake. Also, was the original anamorphic and/or is there a 4:3/16:9 aspect letter/pillarbox issue as well?
Your 709/601 and frame dominance issues would go away, but now you are going to have to deal with them. Usually software scaling is not that fabulous. By any chance is there 2:3 cadence involved? (Is the original project film-based (24fps) or original 29.97?)

1080P29.97 is going to require you to do a very high quality de-interlace if you don’t want a lot of motion artifacts. And if there was 2:3, then about half your events are going to occur on field 2. Which, I’m not sure you can do in Resolve…. ??? We used to have a “:” button in Renaissance to deal with that.

But getting to scalars, which is almost a non-issue compared to everything else, 64-940 / 0-1023 is probably irrelevant, since the project was never RGB and is now broadcast scale whether you like it or not… and was the ‘setup 7.5 IRE’ taken out? You should be grading in its native scale. I really don’t understand the compulsion to try to push things into xeno-space and then flail around re-calibrating and compensating for the dislocation. << I would like to do this project in French for English delivery, even though it originated in Spanish, so now I need to translate it three ways….>>> because…..????

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

what you have to beware of is while its great that Colortrace brings in keyframes, it also adds them to mark previous in points on selected footage from master clips. This can sometimes cause spurious events within stretched clips.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[Bob Woodhead] “We’re looking in the looking glass and seeing…”

https://www.bartleby.com/73/521.html

AUTHOR: Walter Crawford Kelly (1913–73)
QUOTATION: We have met the enemy and he is us.

jPo

paraphrasing Commodore Perry.

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[James Sullivan] ” Is version 9 of Resolve still compatible with the oldest 2008 Mac Pro certified for use with previous versions? “

I’m tempted to write “Good Question.”

It may have more to do with the 64-bit demands and OSX-whatever requirements that will determine whether your enjoyment of the software is optimal. It isn’t just a simple case of the transport tower alone, I don’t think — there are a lot of other factors in the mix — OpenCL, CUDA processing, nVidia drivers…

I think many of us are looking forward to seeing a new configuration guide.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[Tim Wilson] “Not that they’re lying today (or then), but none of these guys are obligated to tell the whole truth. No disrespect intended but it’s more like they’re obligated NOT to tell the whole truth.”

There was a famous baroque Venetian politician who’s favourite epithet was something like,
“Non dico bugie, ma la veritá, non á tutti.” if you can forgive my written italian.

It sort of translates as “I never tell lies, but the truth is not for everyone to know.”

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[Walter Soyka] “professional interest”

which is a good thing. Over the past year, I have had exactly two encounters with FCX. One TV commercial which was a multi-layered green screen that worked out fine – unpacked nicely in Resolve (which is all I cared about). The other instance I actually coached a former iMovie user through using the application to make some nicer slide shows to showcase his original music. He didn’t like iMovie because it wasn’t sophisticated enough, but he wasn’t all that excited about FCX, either, because it was way too complex for his purposes…. but it was cheap and did have better audio editing.

But locally anyway, my market was previously an AVID stronghold, and although that camp has made strides, most locals, having switched to Final Cut Studio, are loathe make another leap of faith to anything. The sentiment expressed most often is the sense of moving backwards and everything seems to be getting monstrously complicated again. I interpret that as referring to ambiguity in product placement, capricious and arbitrary operational changes and of course the total format/codec chaos that has erupted over the last couple of years. At the end of the day, many are choosing not to choose.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[Herb Sevush] ” I guess these 250000 casual users
don’t count.”

Not unless they were Creative Enthusiasts. Man that was hard to type. My Apple software auto-correct kept changing the words to “Pro”.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

I don’t think you’ll see your superwhites unless you change your system config for “full scale” display, rather than legal video. Of course, this will open you up to another set of problems.

jPo

You mean “Old Ben”? Ben Kenobi?