[Ninetto Makavejev]

Thanks for the reply.
I did read a series of posts regarding gamma-shift and DNxHD, as well as the perils of not using a broadcast monitor…

Your diagnosis makes sense, but here’s the take: I am just wondering WHY/HOW Premiere and Resolve communicate with each other. I do not understand why if e.g. I have a XDCAM-422 project, throw a test-chart/color bars on the timeline, export this “pure” in a 422 10-bit codec (e.g. DNxHD), bring it into RESOLVE and re-export “pure” in the same codec/container I see these black/gamma shifts when I bring the RESOLVE-export into Premiere?! Is Premiere always outputting RGB-values irregardless of codec/color space, but exporting 709? Maybe this is more of a Premiere oddity than anything to do with RESOLVE?
This is very confusing.

Hope someone comes up with the bottom line.

[Ninetto Makavejev]

I think Yoram means “auto colour”.

[Ninetto Makavejev]

Depends on the material, and how heavy your color correction will be, as well as if you have the hard-drive space and capabilities.
DPX for all high-end stuff.
DNxHD Avid codecs in a MOV container for the rest will also do you fine and will not kill more modest systems.

[Ninetto Makavejev]

Hello, this question popped up for me also, since I am dealing with a very chaotic P2-AVC-Intra Premiere Project that could-not, would-not export a usuable EDL/XML for Resolve.

So I want to export this AVC-Intra project as DNxHD, and use Resolve’s wonderful scene-detector.

But I am unsure if I should export the DNxHD-185 color space as 709 or keep the RGB and send the master later in post to broadcast-legal? My initial intuition was to pick 709 as that is the final delivery space desired, but since subs/other titles will still be added after conform delivery, maybe it IS better to “keep RGB levels”?

Would be very grateful for a “best practices” rule from the cracks on this forum… best, n.m.

[Ninetto Makavejev]

Sorry to say my optimism with the “easy” fix in the previous post has not panned out.

Today I had to re-boot 4 times before the BM-drivers “kicked in”.
This is not good.
When I have more time I will open the machin and try the other suggestion of switching pcie-lots. The X79 system (gigabyte x79-ud3) has 4 such slots 2x running 16x and 2x running 8x. Is there any standard recommendation as to which pci-e slot to use???

[Ninetto Makavejev]

Thanks for your response.
I have tried a different fix suggested a few posts earlier which was actually about BSOD and firmware updating: the suggestion from you, Chris, was about turning off any power-saving for pcie-devices.

But in fact I tried just that for my problem and maybe it is just luck but for 1.5 days now the drivers have always been loading properly. I will keep my fingers crossed, that would be great if it is that simple.

best regards, Ninetto

[Ninetto Makavejev]

I remember reading somewhere that certain controllers (Marvell?) have quirks with SSD-disks connected externally. Esata should of course be much faster than USB 2.0 Or do you see this effect ONLY with Mac-Formated SSDs? Maybe they were not properly aligned when formating in Apple? Or did you format the disks via MacDrive? There was a acknowlegded MacDrive 9.0 bug whilst formatting but that has been fixed, and I believe it was for mixed formats NFTS/GPT…

In any case it would be good to hear if you found a solution to this. Everyone on the block is lusting after SSD-Disks these days…!

[Ninetto Makavejev]

Thanks for the info and hope on the (maybe-not-so-far-off) horizon, that one day mankind will be able to play BMD 1080p timelines with Decklink within premiere.

The problem has nothing to do with codec or Premiere per se, because I can take the very same 1080p files and as long as I use the Adobe preset and Adobe player, the 1080p plays fine, even within the same project.

It is just the 1080p BMD-preset that never works. Never has. There were other posts here about this problem and the only solution offered was to edit BMD-1080i (that works) and then at the very end mark all files and place in a BMD-1080p timeline so that Premiere does no inadvertently de-interlace already progressive material.

Like I said, very frustrating, after all these years and 4 versions of premiere, 2 versions of the Decklink card.

[Ninetto Makavejev]

Well, at least I have something that works and is pretty current. I’m sure they’ll eventually sort it out.

Umm, I wouldn’t hold your breath about BMD sorting this out. Yes, I am frustrated: I have had two models of Decklink cards in the last five years. Every 3 months or so, I post on this forum if anyone has YET gotten the 1080p timeline to work with Premiere.

All I get is silence or very ineffective workarounds. Five years running. Still waiting.

Anyone using Decklink 1080p timeline in Premiere, outputting via HDMI to a high-quality monitor, that has it working? Just askin’.

[Ninetto Makavejev]

[Tom Daigon] ” why would you use the BM timeline when its unnecessary and prevents you from taking advantage of CUDA”

Funny, the one complaint I do NOT have about Decklink is that the quality of the display from the card WHEN it worked was always superior to anything I could get from the system’s native card and Adobe. I am using a CUDA-capable card, but Decklink-output always looked better on my EIZO 2441 monitor, at least via HDMI.

That said, I too have the pesky audio lag/dropout problem which never went away despite claims to the contrary. This is on a brand new X79-system with 16 gb of RAM, 9.5 drivers

Go figure.