Joseph Owens
16
COW Coins
16
DaVinci Coins
Forum Replies Created
-
[Scott Clements] “I must say that the way Avid deals with stills drives me nuts.”
Ed Grimley would certainly agree, with you, I must say…
yeah, this is kind of a problem…. baking-in the KenBurns PTRZ moves to make a self-contained mov is an approach — you will never have to do them again, and its not really a big quality compromise. The other approach is to do them all over again, trying to reconform everything in Resolve, which will deal reasonably well with some kinds of still files. I use pngs a lot. But the issue remains that the geometry algorithms used by the different NLEs don’t really translate all that well.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
-
[Pedro Saboya Burgos] “Is there a way I can fix this,”
Some users have had some luck with spanned clips re-connecting if the entire folder is brought into the Media browser…
If you sort by source time code, you may also see the sequential spanned files so that even if they don’t re-connect, you might be able to re-splice them back together on the edit timeline.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
-
[Johan Windh] “So what do you recommend?”
Is there a way to check the scaling in AE? AVID allows users to pre-determine the RGB/709 scaling on import, and some applications allow the decoding to be changed in “clip attributes”… you could use Resolve to check this as well, by deliberately flipping between the scaling types in the Media Browser.
Watch your scopes to see if the black/white levels jump… in a direction you don’t want them to.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
-
Your scaling (full scale RGB vs. linear video 709) is probably wrong.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
-
Should clarify first — when you state that
[Daniel Cab] “I should also note that even though I have updated the Nvidia driver in my system I still get the CUDA warning at startup.
“are you referring to the nVidia GPU driver or the CUDA driver? They are two separate entities, and if you do not have the recommended CUDA driver, the software will exhibit unpredictable behaviour.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
-
[Caio Simbula] “I also don’t want to deal with using computer monitors and any weird workarounds, I want a normal broadcast monitor that has blue-only functions”
That is a good, pragmatic approach. The issue I have with setting up a display with blue-only is that it only gives a “corners of the envelope” setup, and doesn’t really help with the overall color accuracy of a monitor’s total gamut fidelity. “Blue-only” was developed to set hue and saturation for baseband composite video, when there was a real “phase” component that was relevant. In digital component, it is practically meaningless.
The investment in a probe and calibration software would put you well in the ballpark and still a bit less expensive than a full-up reference monitor — and you would also find out what the deficiencies are with your own solution, for good or ill.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
-
[Arturo Sinclair] “The source material is a single 45 min .mov”
Have you tried exporting a CMX EDL and importing the single movie using the EDL as a cutlist?
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
-
[Beth Cramer] “Madison Square Garden’s Daktronics LED display that’s in the arena.”
How do you know MSG’s scoreboard characterization won’t be different? What you might really be looking for is a monitor “match” and then generate a LUT to output for the venue. it would involve a somewhat similar approach, except you would need to get a read on the big board and then match to it.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
-
If I am reading this correctly, you are attempting to use a PCIe I/O interface card (the Decklink) with a newMacPro that does not support PCIe, but seems to be dedicated to being Thunderbolt-only. In the Configuration guide for Resolve 11, which focuses on the use of the newMacPro, you will note that the recommended output interface is the Thunderbolt based external UltraStudio 4K.
How are you interfacing to the expansion chassis?
I was not aware that a Decklink would function correctly in an expansion chassis — seems that the architecture is designed to support storage interfaces, RedRocket and *some* other cards. If you can get the Decklink to function in the expansion chassis, I would simply feed the Flanders from the SDI output. Nothing else would need to be configured, but even with the older MacPros, Decklinks were always advised to be installed in Slot 3 and not in the expander.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
-
Are you attempting to use the GUI as your reference display? No external monitor connected via some form of Decklink or other BlackMagic interface?
In this case, there are still some possibilities, but the best you will ever achieve is a simulation.
Your results will only be as good as the software that you are using to characterize your display, and that display’s ability to generate intensities that correspond to 709 values.https://calman.spectracal.com/user-guides.html
…can work with BMD Resolve to generate essentially a display LUT that will pre-distort the colorspace so that it will be 709-like. It is not enough to simply match the RGB corners of the triangle… the whole thing has to match, as you are finding out.Over the years, there have been many threads inquiring about “wide-gamut” displays — the hope is that “bigger” is “better”, but what a grade environment is really trying to achieve is a tight match, and some interpretations of “wide gamut” are incompatible with what should be an exact gamut overlay. Fine for photography, not so good for motion picture and broadcast production.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.