Juan Salvo
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Out of resolve leave the levels on auto. As far as gamma, 2.2 is assumed. If you work 2.4 you’ll probably want to compensate accordingly.
https://JuanSalvo.com
https://theColourSpace.com -
Trust is a funny thing, but it means everything in the color world. Trust is earned from clients by sounding like you know what you’re doing and having your work hold up. This is really tricky to do if you don’t have calibrated gear and confidence that it’s correct.
I prefer always to have clients attend sessions in person. I know my equipment is to spec (we grade in a DCI theater) and my suite is often better calibrated than many exhibition installations. With remote clients we provide several option through which we can support calibrated remote review. Either by partnering with a trusted 3rd party, or specking equipment we know and can trust, or sending a mobile review station.
We do all that so that we can have confidence that the viewing conditions are up to snuff. We have high confidence in those pipelines. But all we can do is grade to spec, and reviewing on random devices isn’t going to lead anywhere but off, you’ll end up like countless other “colorists” creating content that only ever looks right on one screen.
Either the professional you hired has the right equipment to say with confidence “this is what your image looks like” and the wisdoms to insist you look at it on a display she trusts… Or you don’t really know what your image looks like, and likely never will.
Going to some random theater, and screening content not mastered for theatrical distribution isn’t likely to improve your confidence. Playing it back on your laptop and on various consumer tvs isn’t going to improve your confidence. The thing is you either have confidence it’s right, or you don’t. But hey, maybe you’ll get lucky and find a device that displays kind of the way you want it to look.
https://JuanSalvo.com
https://theColourSpace.com -
Use the mixer to map your outputs. I ran into the same issue.
https://JuanSalvo.com
https://theColourSpace.com -
Nah, I think there’s an integrity check on the LUTs and this is where resolve moves qualified files after said check on startup, or when you hit the update LUTs button.
https://JuanSalvo.com
https://theColourSpace.com -
Of course all that requires proper 709 viewing and pipeline, with a calibrated display and a high degree of confidence. Otherwise even the most experienced DCP author won’t be able to make your film look right, cause it’s been graded under whatever conditions it might have been. GIGO.
https://JuanSalvo.com
https://theColourSpace.com -
DNxHD36 is not over kill for anything, it’s a very lossy offline format. Try DNxHD 110+ or similar from resolve, and double check exactly what codec you’re looking at in avid when comparing. I’m certain it’s not DNxHd36, might be 110,185,185X or perhaps native.
Best of luck,
https://JuanSalvo.com
https://theColourSpace.com -
Copy the LUT into the appropriate folder, AND the supporting “.LUT” folder from the previously working version. 😉
😀
https://JuanSalvo.com
https://theColourSpace.com -
Isn’t DNxHD36 in fact a proxy file? When you’re transcoding direct in Avid are you doing to 36 or 185?
Just to add, data rate is not an absolute measure of quality, 36Mbps of DNxHD and 36Mbps of H264 are not the same thing. Just like 256KBps of MP3 and 256KBps of PCM are not the same thing.
https://JuanSalvo.com
https://theColourSpace.com -
If you update your database as opposed to importing a “drx” then your grades will be consistent. The issue here is with bringing a drx (not a drp, btw) directly from one version into another without the math being adjusted.
If you import a drp that also gets updated.
That said, theres still a chance thing might look slightly different from version to version. Debayer, noise reduction, blur/sharp algorithms get updated and change. Hue vs math gets changed. ACES versions get updated. Etc, etc. This could effect the way your image looks.
If you want perfectly consistent results, you shouldn’t upgrade in the middle of a project.
https://JuanSalvo.com
https://theColourSpace.com