Joseph Owens
16
COW Coins
16
DaVinci Coins
Forum Replies Created
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how to deliver broadcast safe video,
Not really an option. The linear broadcast setting is intended to export 709HD where the image values take into account the Y’CbCr 64-940 (10-bit) range for 0-100 IRE, whilst (yes, whilst) full scale is really intended for image sequence (dpx, tiff cin, etc.) RGB workflows. Where this gets confusing is ProRes 4444 which can be either Y’CbCr or RGB+, and no real way of flagging that.
Scaling also includes a gamma characteristic, which, if executed incorrectly cannot be solved with a simple black/white adjustment, since the entire image has also had a curve applied to it inappropriately.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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It may be an Apple quirk, since the 5K resolution setting may violate what Quicktime considers to be “optimized”, similar to the kvetching that FCP often does when you import ProRes files. FCP7 may be a non-starter for 5K anyway, but it was certainly a surprise to me that even an 853×480 ProRes clip would trigger an ” Out of Memory” baulk.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Simon Modery] “Because if the lines really go vertical it can’t be a de-interlacing issue (field lines are always horizontal).”
That’s what is really fishy with this story. Those vertical lines really more resemble some kind of DV50 loss compression.
Unless your deliverable specifically requires a frame rate conversion, there is a reason why most, if not all, of those contracts specify that the edit be carried out in the source footage native frame rate and field dominance, if there is one. Dropping the (HD?) 24p footage onto an SD 2997 timeline is the straightest, most direct route to disaster that is possible to draw. 2:3 cadence depends on interlace to work, which is one of the reasons that it is such a total disaster in Final Cut Pro, up to Version 7. FCP simply can’t do the math, because it is not field-aware.
Edit native: recompress and convert for final deliverable. In this case, the projector is finally revealing that there is a process problem.
One other issue that occurs to me is aspect ratio conversion — if the original footage was 16×9, then it is being “anamorphasized” for the SD 4×3 native aspect ratio (I don’t see letterbox being a factor here). There are issues with some format confusion between codecs making this conversion under some circumstances, and may be forcing a bad proxy render.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Andy Field] “Getting paid and making a living with the software makes you a professional.”
*::gag::* “making a living”? As a wage slave?
Totally disagree. This “getting paid” argument is done. No, you likely aren’t getting paid, not what the work is worth, that is for absolutely sure, and “professionalism” is *doing your job and not making the rest of your collaborators’ existence a living hell* — Buddy Ebsen.
This “getting a few bucks” for knocking off the B, Ed & I porn is more than faintly ridiculous.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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If you have the DaVinci panels… but otherwise no.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[andrew sableton] ” transcoding to AVID MXF PRORES 444 but DAVINCI seems unable to see this media. “
Probably because it would be better to encode ProRes as Quicktime .mov, rather than wrap it in an .mxf format… that would be a good place to start.
DNxHD isn’t a bad choice, roughly par with ProRes.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Dwaine Maggart] “I thought this might be related to the Lum Mix setting, but it’s not. “
Perhaps it is a nod in the right direction. My mental model of how the original daVinci (not Resolve) RGB correction system worked was that it was always trying to maintain “constant luminance” while you were adjusting color balance. Of course, you have to re-adjust all the other factors to maintain the derived “Y'” value while tweaking the RGB, so i cannot see how else that could be numerically achieved. So saying, the “RGB” that achieves a certain Y’CbCr may not be the same RGB you think you were dialling in.
Personally, I don’t pay any attention at all to the three-way thingies. How the desired values are achieved, or for some reason transferable in various modes, is irrelevant to the end result. The only time it might become important would be to indicate that I’ve run out of juice, and “11” is not achievable.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Chris Lehmann] “The biggest benefit, as others have said, is that you can accomplish the same things you could in other programs in half the time. Especially for fast-turnaround stuff like news and broadcast this is a massive advantage!”
If this is the biggest benefit, then that’s great for the fast-turnaround (disposable) market. However, if your project requires thought and review, although “sharing out” an upload is an advantage for non-participatory collaboration, then is editing speed an issue at all? I still don’t think there is an AMPAS award for “fastest editing”, although I do hear over and over that any editor’s greatest attribute was that “he (sic) was really fast“. Maybe this is a hangover form when edit suites went for large sums of money / hour.
What is genuinely fascinating to me is how many argue for the “all-inclusive” application so that the one-man-band can do everything right in the timeline. And then if that function is not available, then the apologists are all over the, “well, there’s always a plug-in or third party solution, or external support… blah, blah, blah….” Sounds the same out of both sides of the mouth to me.
When desktop publishing took over, the promise was for a fast, efficient, paperless industry. Now we use more paper than ever, an author does everything themselves, the spell checkers don’t work, and there is no fact-checking. Even in the days of the Apple II, processors were wasting (relatively speaking one computer cycle = one human heartbeat) entire lifetimes waiting for a human to hit the keyboard again even if they were banging out an ellipsis…
This whole speed and efficiency thing is, as Frank Herbert philosophized, the work of Satan.
And its really more than two years later. Seems like an awfully long time reinventing the wheel when you already know it should at least be “round”.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Christoph Tilley] “Seems like I can’t import that into Resolve after several tries, “
Let’s review: You opened Resolve, created a “Default project”, went to “Conform”, pulled down File… selected Import… AAF,EDL, XML… and then…?
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Hoku Uchiyama] “can you explain how I’d check the gamma settings”
For graphics, right click on the clip and check the “Item Properties”… “Format”… “Gamma Level”. ProRes doesn’t have this option, because it should be confined to the appropriate recommended settings for its colorspace.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.