[Marco Amaral]

Hi,
you can grade in rec709. should be fine.

probably you dont need to convert to XYZ in final.
most of the time DPX rec709 sequence is fine to make film out and DCPs.
but this is with you and the final lab.

resolve outputs 2k and 4k. in mov files or dpx, or whatever…
you can have your 4k material in a full HD sequence, and grade it,
in the end you can put your sequence in 2k

I graded some movies in a rec709 hd monitor and its fine.
remember that for DCP, the gamma should be 2.6 instead 2.2 of regular rec709.
and it makes a lot of diference in dark areas.
well, in cinetal I did that way…

have fun!

[Marco Amaral]

same problem here with 4.0.50 driver version
Here is the auto update option?
I can’t find this option in preferences…

[Marco Amaral]

Thanks Carl,

yep, I think I will talk with the lab.
this way I can sleep better 😉

thanks

[Marco Amaral]

Thanks Carl.
everything is the way I imagine. No surprises!

So, I delivered the right signal,
but… (and there is always a but)
I don’t know the process that transfer this signal for Digibeta and HDcamSR,
How can I control that the “tape lab” will do the things right?

I image that they receive a lot of full range videos from people that finishes the workflow in FCP,
and I think they put the signal in legal values…
If they changes anything the picture will be “double legal” so… grey!

I really want to learn more about this workflows from digital to tape.