[Mike Most]

Well, personally, I call myself Mike and leave the titles to others. ;-D

[Mike Most]

Human vision exhibits less spatial acuity in the green/magenta axis than it does in the red/cyan axis. When the YIQ system was developed, this was taken into account, as they were trying to use the available bandwidth in the most efficient manner. It was thought that by skewing the color difference axes, the one that represented the green/magenta axis could be more heavily filtered since some of the information in it would be superfluous based on that fact. In practice, though, most NTSC transmissions wound up being encoded as YUV anyway, but the I and Q axes remained as an engineering setup guide regardless, and are thus present in the standard SMPTE color bar display for that system.

All of this is a lot of geek talk, though. Alexis has basically confirmed that the original meaning of the I and Q axes was co-opted to mean something completely different in the world of Apple. Kind of like whispering something to the first person in line, then having it repeated to 20 other people in line, only to have it come out of the 20th person as something completely different than what it started out as. What bothers me is that engineering, by definition, is something that usually deals with absolutes, not opinions. Mathematical equations and human perceptual studies don’t change, and neither should the definition of things based on those criteria, even when it’s done in the name of making things simple for the masses, which is Apple’s stock in trade. No matter how complex and meaningful something is, Apple can present an “i-version” of it. Hence why we have iMovie (editing for non-editors), iPhoto (color retouching for non-artists), iWeb (web site design for non-designers), and numerous other things. And, at least in part, I guess it’s why they apparently invented the “iBar,” to allow a flesh tone guide for non-colorists.

At least that’s the way I see it in my more cynical moments. ;-D

[Mike Most]

I’m sorry, but I still don’t get your point at all. I basically stated that specific equipment names shouldn’t be used as job descriptions. I never said that a “finishing artist” should be called a “Smoke operator” or a “DS operator” or implied such. And I also said that one shouldn’t call themselves a “Resolve colorist,” the same way that one shouldn’t call themselves a “Baselight colorist” or a “Lustre colorist.” I didn’t contradict myself in any way.

[Mike Most]

Did you really read what I said? Because I didn’t say that the description is based on the tools, I only said that if film isn’t involved it isn’t telecine, because “telecine” is a non-ambiguous term that means, literally, film to tape transfer or the machine that does it. And I didn’t single out specific equipment as being the only tools of a finishing artist, I intentionally said “platforms like…..” specifically to avoid that. And then I said “unless you’re doing all of those things,” which speaks specifically to the skills and NOT to the equipment. So whether you find it hilarious or not, I didn’t say any of the things you claim I did. I didn’t even imply them.

[Mike Most]

Then do what Michael Phillips (in the Avid forum) and myself suggested and explicitly relink to the Resolve clips. Close all bins except for the one that has your sequence and the one that has all of the Resolve clips. Select the sequence (do this in its own bin). Then select all of the Resolve clips. Leave both bins open, and make sure they’re the ONLY bins that are open. Right click on the sequence and select Relink, then highlight the button for “Selected Items in ALL Open Bins.” Deselect everything else except “create new sequence” if you want to do that. Your sequence will now relink to your Resolve clips, assuming you did everything I just said, and regardless of whether the original non-Resolve clips are still on line.

[Mike Most]

Did you bring in your original media via AMA? That could, in theory, case some strange delinking behavior. Frankly, I’ve already told you all I can. You’re sitting in front of your system and I’m not. I don’t really know what you did or what you’re seeing, so I really can’t advise you beyond what I’ve already said.

[Mike Most]

A Telecine Colorist would be a colorist who operates a telecine – IOW, film to tape transfer. If you’re not working with film, you’re not a Telecine colorist, regardless of how often this term is misused. Calling oneself anything that has the word “Resolve” in it is very limiting, as Resolve is only one piece of gear among many in use today and operating the equipment is not the real skill, coloring is. So using that term limits one’s appeal to companies that are only using Resolve, not a good thing to do in today’s world even if 99% of the work you do happens to be on Resolve. An Online Finisher is responsible for many things, including but not limited to conforming, compositing, paint effects, rig and wire removals and other cleanup effects, titling, transition creation, versioning, and occasional light color work. Anyone with that job description is using working on platforms like Symphony, Smoke, Avid DS, or Quantel iQ, not DaVinci Resolve. So unless you’re doing all of those things, you’re not an Online Finisher.

That leaves Colorist, which is the simplest, most direct, and most accurate term for someone doing color grading as their primary task.

[Mike Most]

>>But when they are on my timeline, they are ungraded… But it is the same clip, same name, same >>location !

Then it’s NOT the same clip and same location, because Avid doesn’t have the capability of “stripping” baked in color correction. It’s simply not playing the clip you seem to think it is. Clip names mean very little in Avid, as they’re just part of the master clip metadata. The file names are equally unimportant, what’s important is the tape name and timecode – which is why the same master clip can be relinked to different media. The clip in the timeline is being linked to the original, ungraded media because that’s what you’re seeing. The best way to solve this issue is, as I suggested earlier, to remove the original media from the Avid MediaFiles/MXF tree on all media drives and leave only the graded clips. That will ensure that any images you’re seeing are from the graded clips only.

[Mike Most]

What you are describing is not possible. When you render out of Resolve, the color is baked in, that is the point of the render. It is not sent as metadata that somehow has to be interpreted by Avid. If you are looking at the Resolve rendered files and your color isn’t there, then you didn’t set up the Resolve render correctly. The only way I can think of that rendered files from Resolve would not have your color corrections is if you enabled “Flat Pass” on the render page. To confirm that your rendered files have proper color, try reloading them in Resolve and look at them.

[Mike Most]

Did you explicity link to the Resolve produced clips (i.e., use “link to selected items in open bins”)? If you’re still having a hard time, remove the original files from the Avid MediaFiles/MXF tree and leave only the Resolve produced files, then relink.