[Joseph Owens]

If each small project is a unique sequence, then you can simply select all the sequences and send them to Compressor. Answer that you want to keep them unique and the application will create a big batch. Copy in the destinations and conversion droplet and hit “submit”.

jPo

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

[Joseph Owens]

[Andy Field] “interesting that they say bring it to “Final Cut Pro Studio” not FCPX which is no longer a “studio” — could final cut pro 8 be on the way?!?!?! :-)”

Could be the boiler-plate wording — maybe others are better at reading the chicken guts than me, but a lot of people voted with their feet and other body parts.

jPo

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

[Joseph Owens]

Experiencing something similar in 9.1.1 and it is being looked into.

jPo

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

[Joseph Owens]

So what you have is 25 fps media on a 24 fps timeline?

jPo

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

[Joseph Owens]

[Ann Fox] ” I have been receiving the error message “codec not found.” and “general error, out of memory”.”

You will also get these error messages if there is non-standard or too-large frame sizes on the timeline, since FCP doesn’t have the vocabulary to describe those circumstances.

jPo

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

[Joseph Owens]

Seems to indicate a true pixel count of 1680×1050, and has no other video inputs than composite, or component analog, so there is a definite reason why it has been remaindered. About the best that could be said is that you could indeed confirm that you have a color picture, but what color it actually is would be at best a ballpark estimate.
You are probably thinking about using the HDMI interface, which will still be on the sRGB gamut. It better be a very, very good price, verging on the throwaway, because you likely won’t be happy with it for very long.

jPo

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

[Joseph Owens]

There is some discussion about “burning it in” for about 100 hours up front…

jPo

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

[Joseph Owens]

[Francesco Krattiger] “I looked up rec 709 black and white levels and from what I can tell the 64-940 range corresponds to
the black and white points in rec 709.

Am I correct in assuming that I need to watch my scopes and keep shadows above 64, if they are to retain
detail, while doing the same with the highlights with respect to 940?”

No, not really. Your dpx scans, if scanned full scale, will correspond to 0-1024 RGB and you should check that Resolve is mapping the same scalar overall 0-100 IRE range — if your output preview is 709, then Resolve should be doing the work for you, but only if it is correctly interpreting the source files. You should be aiming for 0-100 709 if that is your ultimate output, even though in Y’CbCr those values are 64-940. That is the nature of so-called “linear video”. This will be very obvious in an outboard SDI scope, where you will see either “floating” or “very crushed” blacks, and a stunted white level. If there is a scalar mapping error, it is not a linear fix as gammas will be proportionally incorrect across the grey scale.

jPo

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

[Joseph Owens]

Wouldn’t it be loverly if WYSIWYG?

Resolve pretty much operates in Rec709 by default, unless you deliberately go away from it by slipping a LUT in the mattebox. Internal computer graphics previews are operating in sRGB, which is similar, but not exactly the same as 709. That is where external SDI Video I/O interfaces like Decklink come in — and there are emulation modes included in many grade monitors that allow you to see your values as mapped to various colorspaces. That is the one big real advantage over graphics displays, plus of course accuracy and reliability.

Linearizing your dpx files in Resolve really is asking for the value scaling — 0-1023 or 64-940?

As far as gamma characteristic goes, depending on whether the dpx files were digitized log or not, I would be surprised if anyone went to the extent of customizing an antilog for a specific stock — that would have to be tweaked for every batch. Its a bit like the so-called film log curves that some digital cameras provide — they’re not log at all, but simply flattened out to try to avoid clip/crushing the high-and low-lights, and its “up to you” to eye-ball it out, and usually, with a scope, its not a challenge, and a hand-built S-curve is the most efficient path for that. Ultimately, make it look good – that’s what we do.

And as the manual and various tutorials point out, the “log” controls in DaVinci primaries aren’t specifically for reverse log operations — they’re just a remapping of the overall controls that are pinned at different control points, which you can slide around (pivot).

jPo

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

[Joseph Owens]

Haven’t tried this yet myself, but other experiences might indicate setting project attributes prior to the AAF import, uncheck import settings-from-project, and link to different source files=> the parent camera media.

jPo

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