[Laco Gaal]

why don’t you go with the thunderbolt equipped Ultrastudio cards?

https://www.blackmagicdesign.com/products/ultrastudiothunderbolt/techspecs#27527
https://www.blackmagicdesign.com/products/ultrastudiothunderbolt/techspecs#31782
https://www.bhphotovideo.com/c/product/766049-REG/Blackmagic_Design_BDLKULSR3D_UltraStudio_3D.html

sidenote: why can’t I find the Ultrastudio 3D on Blackmagic’s site?

[Laco Gaal]

Yes. 10bit DPX, or 10bit Prores to 8bit MXF.

[Laco Gaal]

top, and bottom. Not a big change, but could be enough to create illegal levels…
Here’s another example, check the vertical green line on the right: https://d.pr/i/Xv22

[Laco Gaal]

Thanks Sascha, currently I’m not allowed to give this one out, but I did the test with another video, same thing found. (Only the original video was much more contrasty, throwing Luma Over issues too)

So:
– Davinci Resolve video output is set up like this: https://d.pr/i/VrzG
– monitoring the Davinci output looks like this on the Ultrascope: https://d.pr/i/oPB7 (Error log started, no errors)
I exported a video level Prores422 mov, and a full range DPX, and brought them into Premiere (tested in Smoke, and Avid too…)

– Prores looks like this on the internal waveform in Premiere: https://d.pr/i/AF8w and looks like this monitored with Ultrascope https://d.pr/i/XTdL (errors found)
– DPX looks like thin on the internal waveform in Premiere: https://d.pr/i/WN5M and looks like this monitored with Ultrascope https://d.pr/i/6Kxs (no errors)

Now here comes the strange part. If I export an MXF from the DPX – which was flawless – it looks like this on the internal: https://d.pr/i/H3UH and on Ultrascope: https://d.pr/i/K71h (errors again)
If I export out a Prores from the DPX, the same thing happen – played back in Premiere, Avid, or Blackmagic Media Express.

If I bring back the exported MXF to Resolve, Ultrascope finds no errors at all.
Here are all the files: https://we.tl/1frLjykUZq

This can be a Premiere issue, but then what kind of finishing tool should I use?

thanks

[Laco Gaal]

Thanks Sascha. Could I contact you through email?

[Laco Gaal]

Render out the video, and play it outside Resolve, full screen. It should be the same as your source footage.

[Laco Gaal]

thanks, I’ve uploaded it here, because it’s bigger than 100MB: https://carousel.hu/stuff/mirrorAE.zip

[Laco Gaal]

Darby,
thanks for the answers, and the project file. Actually this will be a shooting two weeks later, and I will have to remove the DOP from the mirror.
I did a little test at home, if you’re interested, I’ve uploaded the source file, the Pftrack export (please add the “.ma” extension), and the “clean plate” (need to freeze frame) here: https://we.tl/LhDn6nGNr7

I was able to solve the movement by parenting the plate to a layer with position set to 100,100,-100 (thanks for that!)
And I was also able to mask the mirror with your instructions. So it seems that It is solved.
The only thing I’m missing is the parallax movement of the clean plate…But it seems we’ll have to live with that:)

[Laco Gaal]

haven’t seen C500 RAW in practice.
How did you like it Juan?

[Laco Gaal]

“You should be able to set that in the AVID Export settings….???”
Yes, it can be changed in the export setting, but it won’t change the way Avid handle the MXF files inside the Media Files folder.

“And it is sometimes a useful exercise to toggle the scale settings in Resolve, if you are using “Auto”.”
Yes, I always check the rendered file by importing it to Davinci again, and change between Data, and Video levels (this way I’m sure I’ve exported Video, or Full range).
But in this particular case – after the first problems – I didn’t even use the Auto setting…

Thanks