[Marc Wielage]

Cinemartin has some free Red, Canon C300, Sony F55, and DPX sample footage for download:

https://www.cinemartin.com/cinec/samples/

[Marc Wielage]

I have no problem with the Avid MC Color panel. Maybe I have lower expectations, but the trackballs and rings respond just fine. Making very subtle adjustments with windows and with PTZR are nearly impossible with the mouse for me; you have to have external knobs for this.

I have made some custom adjustments within the panel settings, but nothing severe.

[Marc Wielage]

CinemaDNG files should have Color Temp, Tint, Exposure (-4 to +4), Sharpness, Highlights, Shadows, Color Boost, Saturation, and Midtone detail, available on a project-wide or clip-by-clip basis. All this is covered on pp. 183-185 of the v11 manual. I personally think the color temp control is important, but the rest you can reach with the manual Primary and Secondary controls. A project-wide color setting also works.

[Marc Wielage]

I had this situation a couple of months ago, and my opinion is no — there’s no way to do a “group reset” of all PTZR adjustments. There was a trick to doing it in daVinci 2K, but not one I can find in Resolve.

The workaround I did was this: cut-and-paste the conform, then use ColorTrace to automatically bring over all the color corrections but without sizing. It’s a bit of a pain, and you’ll have to do some manual checking, but this can work.

[Marc Wielage]

The front porch is too wide to be legal.

[Marc Wielage]

The Tektronix white paper “A Guide to Using Waveform Monitors as Artistic Tools in Color Grading” is a really good one. Not a barrel of laughs, but it’s about 100 pages on how to interpret what a waveform monitor, parade display, or vectorscope tells you about the image. You have to register with Tek to get the free paper, but they won’t bother you with spam:

https://info.tek.com/www-a-guide-to-using-waveform-monitors-as-artistic-tools-in-color-grading.html

[Marc Wielage]

Yep, same issues here. I would love to see Home and End implemented throughout every mode as “1st frame” and “last frame” of every timeline, duplicating the behavior in the Edit window.

Not sure when the I and O keys started failing for the In and Out points, but I have encountered that in the Delivery page (which I insist on calling “Delivery” instead of Deliver).

[Marc Wielage]

Ah, question settled by science and WIRED magazine…

https://www.wired.com/2015/02/science-one-agrees-color-dress/

Color temperature is everything. Screw up a shot badly enough, particularly if overexposure and mixed lighting are involved, and nobody will be able to tell what the right colors are.

[Marc Wielage]

I see no way around it except to have the editor flatten the timeline to avoid any more than 2 video layers and eliminate all compound clips in FCPX. That’s what I usually request for a final color pass. Compound clips are a mess in many applications if you have to go from one to the other.

[Marc Wielage]

[Joseph Owens] “We’ve always been sort of threading a narrow path with all the various I/O options. Its too bad that the company with the fruit-with-the-bite-taken-out-of-it logo has basically carried on with its scorched-earth policy of simply dropping support or not offering back-compatibility with many of its products.”
Anybody who’s been with Apple a long time (as unfortunately I have) will recall that Apple dropped 3.5″ floppies before everybody else, they dropped ADB, they dropped ADC, they dropped internal DVD-ROMs, they dropped Motorola processors and embraced Intel, they dropped Firewire… lots and lots of stuff. Many changes over the years that kind of left users in the lurch. In the long run, I understand why these steps were made, but none of them were exactly user-friendly.

Trying to run Resolve 8 today is fraught with problems. Having said that, I wish that BMD would have a section of “Old Versions” on their website to make it easier for people to find documentation and downloads for all of this old software just in case old projects needed to be revived.