[Mike Most]

We have experienced problems with clean out points (even caused broken control track, which is what I’m assuming you’re referring to) if the edit is aborted. Edits that go to completion have never caused any problems as far as I know.

FYI, we run primarily on Linux systems.

Mike Most
Level 3 Post
Burbank, CA.

[Mike Most]

That just means they want the values included in an ALE so that Avid can include them in an EDL export. It doesn’t mean that they need to apply color on the Avid that’s already baked in to the files.

[Mike Most]

All you need to do is include it in the EDL using the options in EDL Manager. You then do a “color trace CDL” in Resolve and the values will be applied. It works just fine.

[Mike Most]

Playing back 4K at the most common frame sizes requires approximately 1.2 GB per second, not 600MB. It’s 4x the data of 2K, not twice.

[Mike Most]

Double click on the waveform display and you’ll get all the options you’re asking for.

[Mike Most]

Uhh, right. I’m sure the guys at Blackmagic really don’t care about you or any other user and are just doing things to make it easy for themselves, while they continue to screw up their customers and sit at their desks in Singapore laughing about it.

Perhaps it might be a bit more constructive to report the issue as you see it, direct that to one of the engineering team leads (perhaps Rohit, who posts here quite regularly and is very attentive to users’ issues), and see what they have to say and/or if they can reproduce your problem. My feeling is that approach might get a bit more positive action than essentially calling the company a bunch of aloof, incompetent programmers who don’t care about what their customers do or need, and essentially trying to tell them how to do their job. I really don’t mean to go off on you or anyone else here, but if I were a Blackmagic engineer, that would probably be my reaction to what you posted.

Just a thought.

[Mike Most]

They’re saying exactly what I said. And they’re most likely correct.

I think a lot of people who used, say, Final Cut, have gotten used to the software compensating for the fact that a computer monitor and a video monitor are two different things. However, the automatic in-GUI compensation made by Final Cut also permeates a lot of other things in Quicktime transcodes, which has led to the rather notorious and universally loathed “gamma shift” issue. Avid doesn’t make any compensations unless you go into the settings and enable it – and I believe that is only invoked when looking at full screen playback. But since HD video is generally assumed to have SMPTE scaled levels – certainly all “non-RGB”, 422 HD video – unless you set up your computer monitor to resemble a video monitor, video that’s properly scaled for video display is always going to appear too light. So you have two choices: calibrate your computer monitor to more closely resemble a video monitor (you can do this rather easily on a Mac by using the Calibrate function under the Displays control panel), or get a video card and feed a video monitor. If you’re using MC6, that’s a pretty inexpensive thing to do now that Avid supports third party video cards (a Decklink SDI card is under $300).

[Mike Most]

What are you monitoring this on? Because if you’re looking at a computer screen, you’re not looking at reality. I’ve done an awful lot of tests between Resolve and Avid using Resolve generated DNxHD MXF files and never had a problem – but I have always monitored video output (through a proper SDI output path) on a properly set up grading monitor for both. They have always been essentially identical. But if you’re looking at the computer screen, all bets are off.

[Mike Most]

Clever approach, nicely done. A variation of this has been done with dailies boxes other than Resolve in which DNxHD Quicktime files are produced and fast imported, produces a similar result. Of course, Resolve doesn’t read or write DNx Quicktime files, but your method is a very good and efficient workaround.

[Mike Most]

If you’re using Media Composer 6 (and if you’re not you need to be for this to work), you can do what you’re asking. In the Relink dialog you’ll need to enable the new check box “allow relinking of tape sources to file sources.” There is one caveat, which is that the tape name must be the full file name, without any extension. This will allow you to relink via AMA to the original ProRes sources.

To generate MXF files from Resolve with the full file name as the tape name, you’ll need to use the “extract reel from path name” option on the configuration page with a proper control string.