[Marc Wielage]

[Felix Frank] “I thought as Resolve wants to position itself on the maket as NLE they could offer a better solution for a VFX pipeline. As they bought Nuke they cater to the VFX world so why not altho from Resolve???”
Actually, BMD bought Fusion, but I see the point. There could be a cleaner hand-off.

[Marc Wielage]

I don’t think the Eizo’s color navigator is good enough for Rec709 (broadcast) or for cinema distribution. You need to invest in Calman or LightIllusion software and a compatible probe, plus the proper test signals. I’m not convinced monitors are ideal for judging cinema color, but the Eizos are not terrible for broadcast video.

[Marc Wielage]

You want to wind up with NO BLANKING at all in the final render. Turn all that off, then crop the image accordingly. Do some test renders of 10 seconds or so and try it out with the correct custom sizing entered. I’m assuming you’re cropping and not scaling.

Kevin Cannon of Prehistoric Digital in Santa Monica had some good tips over on LiftGammaGain:

https://liftgammagain.com/forum/index.php?threads/deliver-resolution-vs-timeline-resolution-changing-timeline-resolution-can-break-tracked-shapes.5217/#post-46645

[Marc Wielage]

I find the 3D keyer helps, plus tracking windows. 90% of the time, though, I’m not making a massive change — I’m taking a little green or yellow of a face, or just trying to raise the overall luminance a few points.

What’s the source material? I don’t see any perceptual chatter from good solid 10-bit cameras. Note that it’s also possible to just pull a key, then soften the key and change the color that way.

And I can and do rotoscope masks when necessary, just because you gotta do what the shot needs.

[Marc Wielage]

If the project is already done, I don’t see why you need Optimized Media or the Render Cache. You can always rebuild each of them later. If the Render Cache is small, I guess that wouldn’t be too much of a problem.

[Marc Wielage]

I would use ClipWrap to rewrap the files for Resolve:

https://www.divergentmedia.com/clipwrap

In general, a lot of these H.264 formats do not work well for post, particularly the ones without embedded time-of-day timecode.

[Marc Wielage]

In addition to Ripple, I would also recommend MixingLight as having some excellent tutorials and insights into specific techniques, like the use of curves.

[Marc Wielage]

The tutorials from Ripple Training and MixingLight.com definitely use version 12. Don’t use the preview screen — you can only color correct on a calibrated external monitor connected to a color-managed output (page 664 in the manual).

[Marc Wielage]

I totally agree, Joe — I got awfully used to a YRGB scope display in the Videotek and Leader scopes. But the Scopebox displays have their positives: I have a separate Y-only display in addition to the RGB parade, plus the HML Balance vectorscopes, which are really, really good. Download the free version and try it out for yourself.

[Marc Wielage]

I agree with Bob Kimberly above: it’s worth it to invest in a 3rd (very cheap) monitor just for scopes, and expand the window to fit the display. I literally use a $50 Dell monitor for scopes only, and it’s worked out great. I actually prefer a 4×3 scope display because it’s what I got used to for many years. I don’t like the idea of using an iPad, partly because of the lag, and partly because it’s too small. A 19″ 4×3 display is the right size for me, and it works well off to the side of my 16×9 27″ GUI display.

I’m also a much bigger fan of Scopebox for external scopes, both to lighten the load of processing from my main Resolve machine, and also for all the extra features Scopebox provides. (And my thanks to Robbie Carman of MixingLight.com and Jason Bowdach for recommending Scopebox so highly.)