[Mike Lary]

Thanks, Michael. That makes perfect sense.

Mike Lary
Digital Factory
Seoul, South Korea

[Mike Lary]

Thanks for the tip, KC.

The previous version gave me trouble as well, so I went back to the version 9 beta. I think this is a GPU issue. An error message came up saying that the GPU was overloaded (even though I was only browsing files at the time). I can preview and transcode any .cine files under 3GB, but anything larger shows as black. It’s odd I didn’t get the error previously if the system is being taxed. I’m going to run this by BlackMagic support and I’ll post back if they offer something contrary.

Mike Lary
Digital Factory
Seoul, South Korea

[Mike Lary]

The project hasn’t been released yet, so unfortunately I can’t share the files at this time.

Mike Lary
Digital Factory
Seoul, South Korea

[Mike Lary]

“How do you deal with the fact that most consumer displays are adaptive / non-static these days? As an example: a white patch (RGB=(255, 255, 255)) will be displayed at different output luminances depending on the size of the patch; there are similar issues for chromaticities.”

You need to disable any adaptive / “smart” settings on your display before calibration. That’s standard operating procedure when calibrating any device.

Mike Lary
Digital Factory
Seoul, South Korea

[Mike Lary]

Maybe I’m not understanding your question properly, but there’s no reference to RedColor or RedGamma in transcoded footage. A color transform is performed during transcoding – from your source color space to that defined by your output (in this case whichever flavor of ProRes was selected). You would only need to identify the RedColor/RedGamma preferences if you’re working with R3Ds natively.

Mike Lary
Digital Factory
Seoul, South Korea

[Mike Lary]

I’d also recommend the Klein K-10. It’s very fast, consistent, and has good low light capability. It also has the capability of storing custom matrices on the internal flash which can be used to fine tune your measurements per display to give you a level of accuracy generally only achievable with high end spectros.

cineSpace is very intuitive and THX provides great pre-sales support. They also offer a time-limited demo (unlike L.I.).

Mike Lary
Digital Factory
Seoul, South Korea

[Mike Lary]

Hi Mike,

I’ll choose the ‘forced’ option for 3D under LUT Parameters, then. Thanks for that information.

Can you clarify why 1D LUTs are problematic in this scenario? It’s my understanding, based on what you and others have said, that 3D LUTs are only required if a color transform is being applied.

Mike Lary
Digital Factory
Seoul, South Korea

[Mike Lary]

Hi Mike,

I read this entire thread before posting, as well as your blog and lot of what you’ve written elsewhere. I appreciate all the knowledge you share. What I experienced with this LUT was behavior counter to what’s been described by others. The culprit is a simple one that people should be aware of. Please note: The source footage was not clipped in-camera.

The symptoms:
1) When the LUT was applied to a node, it would clip (and cap) the highlights around 93% and the shadows around 5%. Any adjustments made to that node would be limited within that range. If I made adjustments to a node beyond the LUT, the full range of data was accessible.
2) When I applied the 1D LUT (no color space), a color space transform would occur that would identically match the color transform applied when using a 3D (REC 709) LUT. This was verified with scopes.

The cause:
Renaming the LUT before using it in Resolve. If the LUT file name is left as-is, it works perfectly. If it’s renamed (in our case, we changed ‘ARRI’ to ‘RED’) it doesn’t behave properly. If the name is changed back, it works perfectly. We verified this on two different systems.

We’re up and running now, but I’m curious as to why this is happening. It seems that Resolve must have been using the 3D LUT (that resides in the same folder) even though I selected the 1D LUT.

Mike Lary
Digital Factory
Seoul, South Korea

[Mike Lary]

Hi Mike,

I built an LUT via Arri’s LUT Builder with the specs you listed, and when I add it to a node for RED source footage (RC2/RedLogFilm), the highlights are clipped at 95%. If I apply a grade to nodes further down the chain, I can bring the levels up, but I can’t grade or make adjustments before the LUT because of the clipping. Do you know what might be wrong?

Here are the settings I chose in the LUT builder:
LogC
Extended
Colorspace: None(1D)
Scaling (tried both options)
to
Gamma: Video
Range: Extended
LUT Parameters (tried 1D and 2D)

Mike Lary
Digital Factory
Seoul, South Korea

[Mike Lary]

Resolved. This was a hardware configuration issue. We were running out of the Decklink card through a port that does not support downconversion. We switched to the other port and all is fine. A schematic of the card is what tipped us off to the port’s limitation.

Mike Lary
Digital Factory
Seoul, South Korea