Kevin Cannon
Forum Replies Created
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The “Normally scaled legal video” selection in the video monitoring will only apply to your monitoring… and Resolve will render the full-range values that it works with internally when you render to DPX.
You can apply the same scaling with an output LUT, as an output LUT it will apply to the monitoring and renders (you’ll have to switch to “unscaled full-range” monitoring to avoid doubling up). I’m not very confident in the Resolve’s included “DataToVideoScale” LUT, I created my own and use the hardware scopes to confirm that I get the same values with LUT/unscaled as No LUT/scaled.
I don’t know anything about EasyDCP though, I’m curious what formats you put in and how are you playing back a finished DCP?
KC
prehistoricdigital.com
hardworkingpixels.com -
My guess is that the “extract reel from EDL comments” function is designed to strip the extension from the filename, so that everything after a period is mistakenly being seen as an extension?
Have you tried text editing the period out of the EDL comments and making a copy of the .mov without the period in the filename?
So
05 OFF THE BEATEN PATH; MAPLES-3.MOV
and
“from source file: 05 OFF THE BEATEN PATH; MAPLES-3.MOV”.
KC
prehistoricdigital.com
hardworkingpixels.com -
If you open the EDL in a text editor, is a reel name like “05. OFF THE BEATEN PATH; MAPLES-3.MOV” actually truncated to eight characters like “05. OFF “? CMX3600 doesn’t have enough characters to have that long a reel name, regardless of punctuation.
Usually I do this (also because FCP editors tend not to add reel numbers):
Export the EDL with the file name in comments, you get a line in the comments that says something like “from source file: 05. OFF THE BEATEN PATH; MAPLES-3.MOV”.
Then select in config>settings tab “extract reel numbers from EDL comments” so that when you import the EDL, it will come in using that longer filename for the reel of each event.
You also need to make sure each clip you bring into the media browser has a matching reel number, by using the config setting “assist reel numbers using”…
If that’s not the issue, maybe tell us what appears in the reel column of the conform page, versus what that clip lists as the reel when you right click and get “clip details” in the conform page. I’m not in front of my Resolve, so the wording might not be exact on some of these.
KC
prehistoricdigital.com
hardworkingpixels.com -
Interesting Jose… Peter posted a while back that Resolve decodes the ProRes to get RGB for each pixel for each frame before it starts doing any other math… so a 4096×2304 ProRes should be no easier than 4096×2304 DPX, disk read speed aside, or perhaps 4K Red, RR card aside…
I tested 4096×2304 ProRes422 and playback is reasonable…I noticed it choking up on render though. Very interesting in terms of shopping for displays for the mid-to-long term, since we’ll probably see some new Mac Pros, GPUs, and maybe even a new OS in a display lifetime…
It makes me curious about the complete order of operations for Resolve though: For example does blanking/masking happen before color and blur, and therefore save you some processing? Does input resizing save you disk read speed, etc…
KC
prehistoricdigital.com
hardworkingpixels.com -
You could transcode the AJA 10-bit RGB quicktimes to DPX using AJA’s QTtoDPX Translator tool, on the AJA website and might already be on the workstation with the Kona…
KC
prehistoricdigital.com
hardworkingpixels.com -
Partly, but a lot of the more expensive ones have other features, like cross/up/downconverting or 2 slots to do 3D… so you might find that the stripped down ones are cheaper but still have the image quality you’re looking for…
KC
prehistoricdigital.com
hardworkingpixels.com -
The external recorders are actually eliminating one step, as far as the data is concerned
Like on the NEXFS100: the Super35 sized sensor will capture 1080p, and the camera can process that at uncompressed quality (the data rate for 1080 24p uncompressed is maybe 95MB/s to 127MB/s). It can output that uncompressed-quality image over the HDMI, but the camera can’t write data to the cards faster than 28 MB/s. So it needs to compress it first, using an MPEG-4 AVCHD codec, and you end up with a file that is about 24MB/s on your card.
And then FCP will transcode that compressed file to a different format on import, maybe ProRes422HQ (25MB/s or so) or ProRes 4444 (37 MB/s or so) or whatever your target format is set to…
Or you could use the external recorders to skip the MPEG-4 part and go record the uncompressed HDMI out in ProRes422HQ, ProRes4444, or on some of them, fully uncompressed… then there won’t be any re-encoding when you bring the file into FCP…
Many of those codecs are very very good, and the cameras can look good, but you might be able to get less-compressed material for compositing…
The F3 looks very good, so I would think that the NEXFS100 would share some of that, having the same chip. As far as wanting to shoot with a more shallow depth of field, you could always put ND in front of the lens…
KC
prehistoricdigital.com
hardworkingpixels.com -
AT NAB there were a bunch of small new external recorders that take SDI or HDMI in and record to solid state hard drives… they range in price from US$999 (https://www.atomos.com) to US$5995 (https://www.convergent-design.com) and above. They record to 2.5″ SSD drives, in a variety of formats, but at a minimum ProRes422HQ and some do ProRes4444, DnX or uncompressed (if it has 2 SSD slots).
They seem great because they allow you to bypass the compression inherent in the camera, which are usually extremely light-weight codecs (like 25 or 35 MB/s…), so should help a lot for a) and c) and you can focus more on the features of the camera like sensor and shutter artifacts that affect b) and c).
You could pair one with the new Sony NEXFS100U (HDMI out) or Panasonic AG-AF100 (SDI & HDMI outs) if you like the large chips, or a EX-1 (HDMI) or EX-3 (SDI) and their successors…
KC
prehistoricdigital.com
hardworkingpixels.com -
I’ve noticed that when I try to enter a value and resolve doesn’t have the head or tail to make it happen, which for me is often, since I split the clips without handles as a general rule… no error message, no warning, no black frames, it just will not allow the entry.
KC
prehistoricdigital.com
hardworkingpixels.com -
Just to put the subject to the left or right side *without* appropriate look space. So a subject is on the right side looking right or left side looking left… they would be looking at the closer frame edge, or looking towards the “short side” of the frame…
KC
prehistoricdigital.com
hardworkingpixels.com