[Joseph Owens]

For whatever reason, and it was likely not being careful with project size and the volume of loaded media, there were some instances where I couldn’t keep the app running for more than a few minutes at a time. Grab a still, navigate to another clip, it would instantly exit to the desktop, no waiting. It got to a point where I would save everything before doing anything, even cueing to the next clip. Gets a little tiresome when your entire session is eaten up waiting for the progress bar to keep the last thing you did or lose it forever.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

Most professional level grade monitors have programmable hash marks.
Zero-load on the processing in that case.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

AAF and XML are not the same things, you probably already knew that.

In Apple COLOR, we could not make changes to the XML-round trip timeline without opening the door to errors. The difference with Resolve is that DaVinci has the ability to generate and export a new XML which can be opened in Final Cut, or any other application that can see the XML. COLOR relied on revising the original XML which was created in FCP.

The AAf round trip for Resolve is not intended to be editable. You can do it at your own risk.
I recently finished a series where the revisions and FX imbeds were nearly constant.
I ended up exporting Target-mode complete shows, which, aside from the odd “flop” geometry needing to be corrected, or a missing clip that had been mis-connected in the original, worked out fine.

It would be great if the project migration between all these applications was seamless and continuously and forever editable, but given the reality that most of these software constructs are Russians trying to speak Japanese to Italians, I’m grateful that it works at all, most of the time.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

Haven’t run into that, much, lately. Output in my system is continuously QA-monitored via Videotek TVM-900 which displays gamut errors directly, so the problem gets fixed on the day.

The other little detail with some real, outboard scopes is that they also decode 608/708 Closed Captions, which saves another $5-$7 grand on extra equipment, but only if you deliver that sort of thing.

jPo

[andrew sableton] ” if we don’t do some legalization we always get kicked back on QC”

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

The other issue that you may have to take into consideration is that Resolve does not pass-through audio.

For some reason, the designers thought that the community would be using this application as a post-production grading tool.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

And all in just one short sentence.

Be careful working with RAW R3D, AE and Resolve RGB in ProRes 4444 as the scaling is vulnerable in that format if the RGB 0-1023/94-940 gets screwed up.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

No, you can play back the offline in the Conform window side-by side, but I’ve only ever done this for reconciling cut/sync and audio has not been a priority.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[andrew sableton] “applying the “normally scaled legal video” setting in either or both the Config and Render rooms seems to make no difference to the “

It shouldn’t. It isn’t a legalizer.

Its actually very difficult to produce out of gamut values in normal scaling. It only changes the 0-1023 full scale mapping for broadcast 94-940.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[andrew sableton] “applying the “normally scaled legal video” setting in either or both the Config and Render rooms seems to make no difference to the “

It shouldn’t. It isn’t a legalizer.

Its actually very difficult to produce out of gamut values in normal scaling.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

is this the Lite version or licensed?

jPo

You mean “Old Ben”? Ben Kenobi?