[Oyvind Stiauren]

I just would like to add that moving the gain trackball along the correct axis effectively does the same thing as Mike describes above. It’s just easier to make sure you stay on the correct axis with the color-mixer method. Moving the gain trackball is moving the white point.

—
Oyvind Stiauren
Post production supervisor, Colorist
Terminal

Mexico City

[Oyvind Stiauren]

Wow, I think that about does the trick. I owe you many a beer if you’re ever in NYC, Oyvind.

Deal. 🙂

—
Oyvind Stiauren
Post production supervisor, Colorist
Terminal

Mexico City

[Oyvind Stiauren]

I’ve made a LUT for you with Cinespace. It’s assuming a input of Rec.709 with gamma 2.2 and it’s outputting DCI XYZ.

https://www.terminalmx.com/clients/creative_cow/ITU-R_709_g2.2_DCI_XYZ.dat.zip

I know it looks brighter than the “Export 16Bit XYZ Tiff” option in Resolve. But on the other hand my LUT is almost a perfect match to what Fraunhofer’s easyDCP Creator makes doing the same type of conversion. So pick your poison.

Cheers,

—
Oyvind Stiauren
Post production supervisor, Colorist
Terminal

Mexico City

[Oyvind Stiauren]

According to the DCI standard (https://www.dcimovies.com/specification/index.html), the XYZ coordinates for the white point is: X’=3794, Y’=3960, Z’=3890. Calculated to a white point that will give you a white point of 5798 K. So your assumption was not to far off on that Joseph.

But the problem here is more complicated that that.

The matrix you are using is first of all made for converting XYZ coordinates to sRGB/Rec.709(D65). To make it do it the other way you’ll have to invert the matrix. And secondly it’s just converting the sRGB/Rec.709 RGB values into the XYZ color space and it’s not converting the primaries from Rec.709 to DCI.

Anyway you can not just use a matrix to convert from Rec.709 RGB to DCI XYZ. The transfer curve of Rec. 709 and DCI is different and that can not be adjusted in a linear matrix.

It’s a fairly complicated matter understanding well the whole XYZ, RGB color space thing. A good place for more information is Bruce Lindblooms website (https://www.brucelindbloom.com)

I think it’s more common to use a LUT (made with Cinespace or similar), to do the conversion from Rec.709 to DCI.

—
Oyvind Stiauren
Post production supervisor, Colorist
Terminal

Mexico City

[Oyvind Stiauren]

Ohhh. Maybe a good practice when I have an export with a long file name is to temporarily name it something shorter on export and then rename at the finder level once export is complete to maintain metadata integrity.

Yes, you’ll avoid that problem all together doing that.

—
Oyvind Stiauren
Post production supervisor, Colorist
Terminal

Mexico City

[Oyvind Stiauren]

This has been a bug with FCP for a long time. What happens is that FCP makes a temporary file name during export of files with filenames over a certain length (I think it is 16 characters) and then re-names it after export is finished. But sometimes the re-naming is not done and the file ends up with the temporary name.

You can just re-name the file manually after the export is done, but there is one important thing you have to rememeber. FCP does not only re-name the file after exporting it. It also sets the reel number and timecode metadata in the same process. So whenever the re-naming process fails, the reel and timecode metadata is not set either. So this has to be done manually also.

—
Oyvind Stiauren
Post production supervisor, Colorist
Terminal

Mexico City

[Oyvind Stiauren]

Does this 10 – 16 bit setting affect how an uncompressed QuickTime is rendered as.

No, we’re talking about the bit setting for DPX files only.

—
Oyvind Stiauren
Post production supervisor, Colorist
Terminal

Mexico City

[Oyvind Stiauren]

Does this mean that an integrated alpha channel is supported on Linux?

I don’t think so. I can read 8, 10, 12 and 16 bit RGBA DPX files, but I haven’t been able to use the alpha as a matte.

—
Oyvind Stiauren
Post production supervisor, Colorist
Terminal

Mexico City

[Oyvind Stiauren]

On my system (Linux), you get the following options when I select the rendering format:

DPX RGB 8bit
DPX RGBA 8bit
DPX RGB 10bit
DPX RGB 16bit

I haven’t tested what DPX formats it actually can read, but I assume that it at least will support the above mentioned formats.

—
Oyvind Stiauren
Post production supervisor, Colorist
Terminal

Mexico City

[Oyvind Stiauren]

I’ve had the same problem with my RAID capturing HD 444 video. My conclusion has been that when RAID starts to get full, the free space gets increasingly fragmented.

To solve this you can delete files and make more space on the RAID or another solution can also be to use iDefrag and do a full de-fragmentation of the whole RAID.

This do take quite a while to do but can be very useful especially if you’ve been using the RAID a lot with little space free (files and free space tend to get more fragmented that way).

Cheers,

—
Oyvind Stiauren
Post Production Supervisor
Terminal, Mexico City