[Ola Haldor voll]

Try using a Parallel node. You can select what node is the source for the node, or even the main video source as well.

[Ola Haldor voll]

You kind of rule out your options yourself.
If the image is too dark and produce too much noise when you lift it to acceptable exposure, well..

[Ola Haldor voll]

Provide me with a still and let me have a go at it.

[Ola Haldor voll]

I set up DaVinci to output 1920×1080 or 2048×1080, and preferably dual-link 4:4:4, data levels.
The monitor, and Autocue T-series, is set up to D-cine mode and 6302K, Gamma 2.35

When I go to the theatre for final adjustments, I leave Resolve as is, and use the RGB to XYZ LUT.
Then I render to TIFF 16b XYZ, without the LUT applied.

I find the Autocue comes VERY close to the projector. There’s seldom any big changes. Mostly windows and tracking to fix focus. Obvious things that are easier to spot on the big screen than a 24″.

[Ola Haldor voll]

I’m sorry, I read “navigating” and somehow must have ignored “by timecode”. I can navigate by shot numbers too. Sorry! My mistake.

[Ola Haldor voll]

I can do it on the JL Cooper Eclipse.

[Ola Haldor voll]

Crashing software is a good reason not to use betas in client sessions.
Good job keeping the client happy! 🙂

[Ola Haldor voll]

Just to check if I’ve missed something. You can actually fit four GTX GPUs in a single Cubix Expander? I’ve thought all the time that it can hold a maximum of either four single width (Like the Quadro and Red Rocket) or two double width (like the GTX).

Please tell me if I’m wrong, I’d love to smash two GTX and a Rocket in a Cubix.

[Ola Haldor voll]

I have a Decklink HD Extreme 3D for monitoring, hooked up via dual-link SDI 4:4:4 to an Autocue video monitor. It’s the one in their T-series if you go to their website.

Given your name, I assume you’re Norwegian too. Talk to Danmon about the monitor.

[Ola Haldor voll]

I’m with Juan on this one. All though I’m not sure AE is screwing it up (I’ll come to this point later), I don’t like the way AE handles “color profiles”.

Do as Juan says; add the grain in Resolve. Be done with it already, and render 16b TIFF XYZ.

What you explain in step 1) is exactly what I do when I deliver for DCP. Washed out with a green tint sounds correct to me! That’s how XYZ will look on a computer monitor. The only way to see it “properly” on a computer is loading a frame or a sequence of frames in Photoshop (if you have a DCDM P3 LUT installed), easyDCP or similar apps that can reverse XYZ to “normal colors” in RGB.

If I understand step 2) correct, you are actually applying XYZ on footage that is already XYZ. This means, you apply XYZ LUTs twice. Been there, done that, and learned by mistake. When you apply XYZ twice, you will have what you see on the computer screen, in the cinema too.

Anyway, I’d suggest you get a video monitor and grade in the proper gamma and color temperature settings. Preferably a monitor with D-cine mode.

My experience with my monitor vs. the cinema projector is almost terrifying. It’s so close, and the final touch in the cinema is a joy when you see all the work you’ve put down in the suite pays off and you don’t have to spend countless hours tweaking blacks and saturation.

My settings are Gamma 2.35 (tip from the manufacturer of the monitor that 2.6 would be a little too much compared to a cinema projector) and D-Cine 6503 Kelvin. I also grade and render “unscaled”, and monitor 4:4:4.