[Joseph Owens]

[Ashley Smith] ” we lost daylight and used a 5600 softbox”

Sounds like the culprit.

So you are dealing with a mixed-temperature cross-light. If you do a lot of industrials there will be plenty of opportunity to reconcile 3200 practicals against 4500 fluoros with 6500 +/- 200 or so (daylight spill) depending on whether its a sunny day or miserable outside, or you ran out of set time before the end of the page.

The challenge is and always has been to drive the overall balance down the middle and then bend the rest to your will. If the green is that pronounced, then a cascaded node with a qualifier needs to be blended in. I would be careful with RGB ball-and-ring corrections, though, when it really sounds like a phase/hue deflection might pull the tone around far enough. Actually very similar to de-spilling a greenscreen.

There may be those who remember Fuji Reala negative stock, which was an attempt to minimize cross-talk with mixed-temperature sources (particularly fluorescent)… with moderate success. Although it always seemed counter-productive to me that their marketing always seemed like the image in question had almost been reduced to black and white. Yeah, sure, that’s how you get rid of the green.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

[Bruce Carter] ” In the media pool there is one clip that is partially black when it is scrubbed. In the edit page there are multiple clips that are black which are out of that media clip. This clip has a duration of 24:27:00.”

Is this source element composed of many “spanned” clips? I’ve hit this a couple of times with long takes.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

[Mike Leonard] “How should/could I connect these monitors to the system?
I would like to save the Titan X for GPU rendering only, as much as possible.
I would like to have the GUI main window on the 21:9 monitor
I would like to have the scopes and things on the small regular monitor
I would like to watch/playback full 10bit @60Hz on the ‘pro’ screen.

Is this possible? If yes, how?

I have only 4 pcie-slots (5 brackets) so its really hard..

Slot 1 (2 brackets) Titan X
Slot 2 SSD/M2 card adapter (2x M2’s and 2 SATA600 connectors on 1 card :p )
Slot 3 USB 3,1 A/C card

Slot 4?? Quadro or a BM card? (decklink 4K pro?)
I guess the decklinks cant output the GUI?

Could I just let the Titan do the GUI for the two monitors, and GPU rendering as well? And use a quadro for grading monitor?

The way I would like to set it up would be not to connect anything to the Titan, connect the 3 monitors to the Quadro.. Could this work?”

There are a lot of problems here.

Black Magic publishes a configuration guide, but the current one is very nMP coffee-can-centric, so you should go back to the Resolve 10 or 11 config document. It will tell you pretty much everything you need to know about slot assignments, which is going to be a major challenge.

First out of the gate is that you will require a Decklink 4K if you want to see your output with any accuracy… and because you are insisting on using pro-sumer monitors, you will find it necessary to sort out how to do a tight monitor calibration — SpectraCal and LightIllusion are supported by Resolve. You will also need a Windows PC to run the calibration probe and software.

You will find that the Mac5,1 will not be able to drive the TitanX with enough power. Even if you manage to wedge it into Slot01, there simply isn’t enough wattage to keep the rest of the system from browning out.

Believe it or not, some AMD/ATI GPUs (and the Quadro4000) will be just fine for User Interface, and you will be able to run a dual-screen UI so you can park the scopes on a second monitor. You must always set aside you biggest, fastest, heaviest VRAM GPU for image processing, and it cannot be paired with a lesser card or it will be pulled down to the lowest denominator. It cannot be connected to any monitors.

User Interface and image processing are two separate functions by and large, although there is an invitation in the application to share the devices. It might be a good idea or not depending on whether the UI card would be a significant contribution or a stone around the neck.

Later MacOS, Mavericks and so on, can support non-Mac GPUs, but there are some pitfalls. You must now go out and find a driver for your card… and Yosemite and later only allows up to 2 nVidia cards in a system. After that, additional cards just don’t register.

I have two systems running that are similar to this setup, although I use Flanders Scientific displays.

The one system with 2x Titan Blacks is satisfyingly responsive — they are housed in a Cubix enclosure. My UI is the stock ATI5770 that came with the system.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

[Michael McCune] “ProRes seems to be well-liked and very workable for editors.
“

Its an optimal intra codec.

It doesn’t require a huge bitrate for source file transfer, and doesn’t require massive re-computation to digest the ibp structure. In 1080HD, about a Gig a minute, whereas “Uncompressed” is going to be about 10GB. Multiply by 4 for UHD.

HIghly compressed H264 and similar codecs that are operating at about 1% of the “Uncompressed” data density start asking for major CPU processing… its just math, but because so much data is stripped out, it does become difficult to make a delicious and nutritious meal of the skeletal remains.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

[Dave Pickett] “Ill try now to find my timeline in the media pool.”

LOL.

Yeah, its a thing… I think it was done to keep the Media Composer guys happy…

Two words, Smart Bins…

but it is a little bit aggravating to move back into your (newly renovated?) house every 10 months or so and all the doors are moved, and the light switches are in different places, and the bathroom is now on the other side of the property and the laundry room is upstairs, and… yes, I also agree the thing is metastasizing into becoming predominantly not primarily a grading platform anymore. Maybe that’s not such a bad, bad thing, but the manual is now an 1100 page tome. Extremely well written, though, of course.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

Mac has a right-click “refresh”… not Windows?

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

[Marc Wielage] “Generally nowadays, I think 24.00fps projects are rare… but they do exist.”

That is true. Working on one that was sourced that way, for reasons that I am still trying to work out. Eventually it will have a number of releases, but for the moment, I am stuck doing multiple frame rate conversions to get it to sync with various master mixes, and then pull it up to 2997 interlaced for broadcast.
And then 24.000 for DCP — having been made extremely wary of different servers that don’t know and make assumptions about the audio and video MXF essence frame rates, a relationship that can go south very quickly.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

[Matt Harris] “. Is there a way to change it or somehow get my grade into a new project?”

There is no way to change it.

You will have to create a new project with the correct frame base, and then attempt to ColorTrace the corrections… it will warn you that some frame-rate based operations will not translate properly. If you don’t have a lot of tracking, stabilization, or speed re-maps, you might be okay.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

He may mean essentially pulling the patch cord out of the timeline “layer” in a similar approach to NLE import conditioning.

jP{o>

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

[Abraham Torna] “As aditional info to take in account considering to purchase the SPECTRACAL C6 COLORIMETER and CALMAN Studio for DIY calibration so… “

You’ll need it. If you are considering consumer display, this is not an option, and it will make the TV sets effectively much more expensive when you factor in the cost of the calibration. Unless you also have a 3D Display LUT-box, you will also be juggling outputs from Resolve to reconcile the difference between your grade monitor and the client convenience. That is, INconvenient for you.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.