[Mike Most]

If you’re talking about wide color space you’re talking about S-gamut. I don’t believe this is supported on an F3. Going to bigger files just means going to bigger files. You can’t create information that isn’t there in the first place. You don’t “gain” anything by doing a conversion from 10 bits to 14 bits as a post process.

ACES has nothing to do with S-log or S-gamut directly. It is a theoretically unlimited color space that all existing camera output must be converted to via an input device transform, which is camera specific. It is then viewed through a standard renderer (the RRT) and a specific output device transform (ODT). There is an existing IDT for the F35, but that doesn’t necessarily make it accurate for the F3.

[Mike Most]

“Normally scaled legal video” means SMPTE scaling (16-235) as opposed to full range (0-255). It has nothing to do with broadcast legal limits. It is intended to send “proper” SDI output to a monitor or VTR.

[Mike Most]

Among all the great stuff in this release – and there is a myriad of great stuff – I didn’t see any mention of wider Quicktime codec support, in particular, Quicktime wrapped DNxHD. Any word on that?

BTW, this isn’t a criticism in the least. Just about everything I wanted is in this release, my hat is off to the Resolve development team.

[Mike Most]

Looks like my last post got chopped up (serves me right for using illegal characters).

What I meant to say is that if companies like Adobe (with its newly acquired Iridas technology) or Avid decided to integrate and expand the color toolsets within their existing products, and/or offered supported hardware controllers (like the Tangent Element or MC Color) that it would likely have a much more significant effect on Blackmagic and their plans for Resolve development than user requests tend to have.

[Mike Most]

Yes, you could. But you’d be incurring a second render pass to do it. Not that there would be any loss, but if you’re doing a DPX sequence, it’s much quicker to just renumber the files.

[Mike Most]

I would suggest that although customer requests certainly influence development, competition is the real driver. If or decide to integrate and expand their color toolsets to work well with their editing toolsets, and offer solid hardware controller solutions to drive it (Tangent Element or MC Color, perhaps) that would likely have a much larger influence on a company like Blackmagic to expand Resolve’s capabilities and/or offer more hardware options.

[Mike Most]

>>Just for future reference, is there something I’m not doing?

It sounds to me like you’re not using the Arri Rec709 color matrix. You need to build a LUT explicitly incorporating that matrix if you want proper saturation and proper colorimetry to be restored.

[Mike Most]

Remapping isn’t the issue, the issue is that numerical entry for cueing is not exposed in Resolve unless you have the DaVinci control panels. I don’t have any idea what control strings are being sent from the DV keypad, but it is not documented, so it is currently unavailable. Silly, but true.

[Mike Most]

If it’s being rendered as an image sequence (you mentioned DPX) just render each timeline starting at the next frame number after the last one left off at. Name the output files the same name, and point them to the same place. The nice thing about an image sequence is that it’s just that: a sequence of sequentially numbered files. As long as they’re named the same, and continue the numbering sequence properly, when you’re done any software that’s sequence aware will see it as one long sequence.

If you’re rendering as wrapped movie files, you’re boned because Resolve cannot currently combine time lines. This is the reason that most high end work is rendered as an image sequence – to combine multiple timelines, and also to re-render any frames that either have problems or undergo creative changes.

[Mike Most]

To perform a color temperature operation, you can lower the amount of blue in the blue channel, and raise the amount of blue in the red channel to achieve a lower color temperature (i.e., more orange). Conversely, you can lower the amount of red in the red channel, and raise the amount of red in the blue channel to achieve a higher color temperature (i.e., more blue). To change tint, you can lower the amount of green in the green channel for more magenta, and raise it for more green.