[Marc Wielage]

[Jim Lightfoot] “I did some timelapse shots of rising fog on a DSLR and it looks OK when I run the video in QuickTime but there is substantial moire when I preview it in DR 12 and then on TV.”
Wait: you’re using Resolve 12? That is a very, very old version of the program, back from 2015. Sounds to me like you’re describing typical 8-bit problems in reproducing fine details smoke or leaves or water.

[Marc Wielage]

[David Roth Weiss] “If you agree to pay the license fee to Apple I’m certain Blackmagic will agree.”
As far as I know, Apple only charges for encoding ProRes Raw, not for playing it back.

I would bet there are high-level talks between Apple and Blackmagic on the issue of different formats, and it’s interesting that Avid, Adobe, and several other companies can render ProRes on Windows, but Blackmagic Resolve cannot. I don’t think it’s a question of cost per se — I think there’s certain conditions each side wants first.

[Marc Wielage]

I just checked out dual-screen display for 16.2.3, and it appears that the Cut page is only one page. I don’t know if this is going to change in future releases or not.

[Marc Wielage]

If you haven’t already, go through the intro and Advanced Editing courses (which are free) over on Blackmagic’s Training page:

https://www.blackmagicdesign.com/products/davinciresolve/training

Ripple Training and Mixing Light both have many paid tutorials that go into more detail about how to edit in Resolve, but I don’t know anybody who’s specifically done a “Switching from Avid to Resolve” tutorial (yet).

http://www.rippletraining.com/product-category/davinci-resolve-tutorials/
https://mixinglight.com/

[Marc Wielage]

There is a “Broadcast Safe” OFX plug-in available from BorisFX that claims to do it.

What I do is just use the Gamut Mapping towards the end of the node tree, set input/output to Rec709, and carefully tweak the levels as required. I find this often works better than a curve, particularly with hot chroma shots. I don’t use it throughout the whole show: I only activate it on the specific shots that need it.

The rest of the time, I might use a mild Soft Clip here and there or even use Log Highlights to pull whites out of being completely blown out. The rest of it boils down to keeping an eagle eye on the scopes and having a 6th sense for when we’re on the edge in terms of legality.

I’ve worked on about 150 films in the last 5 years for one specific client, and I think so far 3 have come back for fixes. One was for a level problem I missed, one was for a data glitch, and one was for a key that went south. So it’s rare we get caught on an illegal broadcast level. In truth, I think many broadcast channels are a little looser with what they will and won’t accept, but I treat levels like it’s still 1999 and try to err on the side of being conservative.

[Marc Wielage]

[Libby Hancock] “what do you mean add a pixel of cropping?
“
Go to the edit page. Select the clip being superimposed. Go to the Crop tab in the Inspector and just barely touch one of the cropping functions, and the key should pop right in. It’s a mysterious “Resolve Thing” for which I have no explanation, but it will work. Generally.

[Marc Wielage]

Are you using a Fusion clip (like the guy in the video) or not?

If not, try adding a pixel of cropping to the upper track and see if that does the trick.

[Marc Wielage]

The blacks don’t have to be crushed. Check Data Levels -> Video vs. Full and fix it.

It often helps to export a second or so of SMPTE Color Bars as a reference with any file, because then you can later check levels and make sure nothing has changed. This goes for Resolve or Premiere or Avid or Baselight or anything.

Also, read these articles on how and why levels change in different applications (even Resolve) and how to compensate for them:

“Grading for Mixed Delivery: Cinema, Home, and Every Screen in Between” by Cullen Kelly
https://blog.frame.io/2019/10/14/grading-mixed-delivery/

and
“How to Deal with Levels: Full vs. Video” by Dan Swierenga
https://www.thepostprocess.com/2019/09/24/how-to-deal-with-levels-full-vs-video

and I think both cover the issues and the solutions very well. Understanding color management is also helpful:

“Color Management for Video Editors”
https://jonnyelwyn.co.uk/film-and-video-editing/colour-management-for-video-editors/

[Marc Wielage]

[Ray Butler] “Using other things to hide jump cuts eg multiple camera angles, or another image is not desired. It has to look like it’s comtinous playing in same position .”
You are aware this is a Resolve group, right?

There is Smooth Cut, basically a morph transition, covered on page 452 of the Resolve 16.2 manual. I strongly recommend you go through the entire editing section if you intend to edit in Resolve, especially if you need to use complex tools like making a series of short shots look like one continuous shot.

[Marc Wielage]

Read pages 2362-23633 of the Resolve 16.2 manual, “Limitations When Grading With the Viewer on a Computer Display.” This explains why it’s unwise to try to use a computer display for final color correction.

Don’t try to make judgements on uncalibrated GUI displays. That will lead down a perilous road of pain and suffering. And if you do look at anything in the GUI display, don’t compare it to what you see in Resolve.