Kevin Cannon
Forum Replies Created
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They don’t have keyboard shortcuts (which makes it a little strange that they’re on the keyboard shortcut list) but in Mac OS you can go to system preferences > keyboard > application shortcuts, you can create shortcuts for them, which is fun.
KC
prehistoricdigital.com
hardworkingpixels.com -
So I’m still going with my theory here – as Darin points out, the setting only applies to the monitoring, not the actual image, and the HI5 settings are the major adjustable part between the Davinci setting and the Dreamcolor… did you connect it via USB in AJA miniconfig to check? Especially if RGB Range was set to auto – then it could potentially be changing and you’re trying to hit a moving target. I’d be curious to see what they are set to. Great that you were able to work adjust the final image post-render into how it appeared on the monitor…
when I add a LUT to clip everything 63 and under (and 960 and over), the image doesn’t change in either of the viewing modes (though I see the clip on my WFM).
If information can be clipped to 64-940 (seen on the WFM) without making a difference on the Dreamcolor, that would suggest the Dreamcolor wasn’t displaying full range 0-1023.
When the viewing mode is unscaled, I’m seeing the crushing of black at about 127, but when it is normal scaled, I’m seeing the crushing at 63, as I would expect.
Seems like something is doubling up here…
“when I bypass the HI5-3G and feed my Videotek VTM directly off the Decklink”
Were the scopes always being fed from the HI5? That seems like a potential complication.
“when the image is unscaled in DaVinci, the blacks seem to clip at about 127 instead of 63. However, my onscreen WFM assures me that I am getting signal with values below 128, which puzzles me.”
ha me too. But I’m not very familiar with the videotek vtm… if the blacks are clipping at 128 on the hardware scopes, sounds like something is doubling up…
KC
prehistoricdigital.com
hardworkingpixels.com -
How is your AJA HI5 setup? It there a color range (0-255/16-235/0-1023 etc.) setting like the HDP2? I’m not totally sure what you mean by “scaled into legal range but stored outside of legal range.” How are you checking your renders?
I get practically identical results from these three:
DaVinci “legal video” >SDI> HDP2 set to 16-235 >HDMI> Dreamcolor calibrated for rec.709 (black level 126)
DaVinci “legal video” >SDI> FSI Monitor in rec.709
DaVinci “legal video” >HDMI> Panasonic Plasma calibrated to rec.709I would imagine that if the Davinci was set to “unscaled full range” and the HDP2 (or HI5?) was set to 16-235, that the Davinci would retain a bunch of information falling between 0 and 64 while the Dreamcolor would not display any of that information under it’s (incorrect) black point of 64. Then it would make sense that any render viewed in a way that didn’t go through the HDP2 would have more detail (from 0-64) or washed out blacks (at 64), and it would make sense that switching to “legal video” would suddenly reveal all that detail between 0 and 64 that just got scaled to be 64 and above, so suddenly visible to the Dreamcolor.
I dunno though, just a guess.
KC
prehistoricdigital.com
hardworkingpixels.com -
You can do this a few ways, but here’s my favorite…it entails rendering out all the media from resolve with identical file names and timecode, and once you have all the color corrected media in a folder, you offline your media in FCP and point it to the new color corrected media… like this:
1. Create a media-managed FCP project, deleting unused media and adding handles if you want (which will split the quicktimes, give them unique file names, and consolidate into a single folder).
2. Go through that folder or use automator to make sure every file has a .mov extension (the media manager can make files without the extension, but they won’t show up in the media browser).
3. Duplicate the FCP sequence, combine layers in FCP to V1, export a CMX 3600 EDL (with file names in the notes as needed – this will be your temp timeline with which to color).
4. In Resolve, add your media-managed media folder to the browser, conform your EDL.
5. Color! If any clips didn’t make it into the EDL/timeline, you can color them in the master session.
6. With everything finished, go to your master session and render the master session in source mode, to a new folder (don’t overwrite your media) labeled color media or such – you should get a folder full of quicktimes with identical file names and timecodes.
7. In FCP, in your original sequence select all your clips, and “make offline” then “reconnect to media” but point it to your CCed media. (you’ll probably get errors related to reel #s or media start and end time, but it has still worked for me to just ignore them…)I like this workflow because in the end you can keep multiple layers, transitions, FCP effects, etc…
KC
prehistoricdigital.com
hardworkingpixels.com -
I have been doing what Alex suggests – using the output field in the format tab. But I usually grade with the crop (i.e. with the format-output set to 2K and the config-monitor field set to 1080p) to watch for noise and softness, and switch when the client needs to see frame edges…
KC
prehistoricdigital.com
hardworkingpixels.com -
This is my understanding (also see this thread):
It looks like you open pgadmin, then “add a connection to a server,” you’ll be prompted for a name (perhaps “resolve”) a host, port, username, password (case sensitive)…
Most of which can be found in the login screen>database manager>connect screen.
Then you’ll be connected to your resolve server and can select it and access the “backup” tool, which the documentation says is simply a GUI for the pgdump tool.
It generated a 1 GB file for me, I haven’t restored from that file to confirm that it worked.
KC
prehistoricdigital.com
hardworkingpixels.com -
If the source footage and the audio are the same frame rate (e.g. 23.98&23.98 or 24&24 etc.) and it still drifts, check the “monitoring” section on the config tab, I’ve found it also needs to be set to that frame rate…
KC
prehistoricdigital.com
hardworkingpixels.com -
Well don’t think of it as re-compressed to rec 709; compression isn’t what you’re doing. I wouldn’t count on any sort of LUT being used at the point of projection: if your deliverables are 709, the material should be 709, and if they are DCI your deliverables should be DCI-p3. So just know what formats you are going to, definitely get specs (in writing) from the production.
You might have to test it, I’ve never seen a “p3>709 LUT vs. 709>p3 LUT” test. My guess is that if the LUTs are accurate, it would be very difficult to tell the difference, but considering the dreamcolor doesn’t actually allow you to see 100% DCI-p3, there’s a chance you’ll have surprises if you grade in that color space…
KC
prehistoricdigital.com
hardworkingpixels.com -
If you’re working in the Scene Cut Detection window and press “split,” the media will be added to your media pool as a separate clip for each shot (you can go inspect that in the browser window). If you don’t split it at some point (you could also “split according to EDL” or such) it will all be linked together because resolve “helps” by grouping all shots in a timeline from the same clip, assuming that they’re the same take… in your case they’re not.
So you didn’t do anything wrong, but you could add a step and split them, then you wouldn’t have to unlink.
Cheers,
KC
prehistoricdigital.com
hardworkingpixels.com -
DCI-p3 isn’t emulating “digital projection” exactly, it’s emulating the color space used by those projectors subscribing to the DCI standards…which is not all projectors- many use rec. 709 color space. If you graded in DCI-p3 but are going to a finishing format that uses Rec. 709, you would have to apply the appropriate LUT.
My clients usually project from HDCam or HDCamSR (rec. 709) in settings where the projector is (supposed to be) calibrated to rec. 709, like film festivals or screening rooms of post houses or agencies. So I grade in 709, deliver in 709, they project in 709, and if the film is successful and needs to be converted into a digital cinema package or other DCI-p3 format, a LUT could be applied then…
Some would say that it’s better to work in DCI-p3 since it has the “wider” gamut but I like to keep it simple when possible…
KC
prehistoricdigital.com
hardworkingpixels.com