[Pedro Saboya burgos]

Thanks, Peter!

Pedro Saboya Burgos
Colorist

[Pedro Saboya burgos]

Thanks, Marc! Resolve Collect does pretty much what I need!

Pedro Saboya Burgos
Colorist

[Pedro Saboya burgos]

Hi, Anton!

After you export the .dpx, .tiff or whatever format, if you reimport it in Resolve, the blacks are already lifted? If so, your issue is different then mine… It’s all OK with my .dpx, it seems so at least… the issue happens when I create the DCP, though it might be because of something way before on the workflow.

After that, I’ve made several tests, even bypassing all the workflow with original camera material and new color grading. Same results.

Also I’ve made several other DCPs using the same workflow with great results in other projects since then…

Sorry I have nothing more helpfull!

Pedro Saboya Burgos
Colorist

[Pedro Saboya burgos]

Hi, Juan

I’m aware of the flicker free issue on the PVM, I’m using BlackMagic Ultrascope to monitor my signal right out of the Decklink. The signal is fine in Resolve and after I export my master from Final Cut Pro…

Also, the lift is way more than 5%… I’d say it’s about 30% or 40%.

I’ve graded a few movies, full features and shorts, and also loads of TV shows using this same set throughout this year… it’s the first time I’m having this issue.

If you have any other guesses let me know! I’m running out of options here

Thanks!

Pedro Saboya Burgos
Colorist

[Pedro Saboya burgos]

Yes, I am monitoring in REC 709… the issue appears when I make the DCP. I thought it might have something to do with Resolve because only the filmed footage has the lifted blacks. Artwork and credits have proper black levels…

I tried making the DCP from Video-leveled ProRes422, ProRes4444, Uncompressed 422, DPX sequence 16b… tried exporting it directly from resolve, bypassing FCP… Also tried, just for the sake of it, Data-Leveled ProRes4444. Same results.

The only sample that seemed better and might be the way to go (I say “seemed” because I don’t have proper DCP monitoring and have to rent a place with a projector) is the DPX Sequence.

But when I try importing the whole project in DPX sequence, CineAsset crashes after hours… very, very frustrating.

Pedro Saboya Burgos
Colorist

[Pedro Saboya burgos]

Hi, Margus

I’m exporting from Resolve in Auto, but tested it in video levels. I’ve read in Resolve’s manual that I should use Data Levels only when working with RAW footage, or did I get it wrong? I guess Data Levels would, indeed, bring the pedestal down…

I would assemble the film on Resolve, but I had some issues with compositing on this project… the editor added layers that didn’t read well on Resolve…

Thanks!

Pedro Saboya Burgos
Colorist

[Pedro Saboya burgos]

Hi, Joseph!

Thank you for your answer, I did some search on the subject before but I think I wasn’t using the proper terms, sorry for that.

I tried some fixes that people recommended but none seemed to work. Then, while I was working on another subject, something happened: when I changed the easy setup framerate from “all rates” to “23,98”, I noticed a change in the gamma in my monitor.

It seems that, although I had the settings of video monitoring output right and sequence settings right, the “easy setup” of final cut pro should also be set right… and actually changing it’s framerate (not compression settings, nor bit, nor colorspace) actually worked.

Is it weird or am I missing something?

Thanks

Pedro Saboya Burgos
Colorist

[Pedro Saboya burgos]

Thanks for that information, Paul! It’s a relief.

Based on what you all said, I think I’ll go with Resolve’s Scopes for now, then. Save money for some time and buy me a better one.

Thank you all for the answers, this has been very helpful!

Pedro Saboya Burgos
Assistant Video Editor
Video Editor

[Pedro Saboya burgos]

Hi, Robert, thanks for your answer!

I’m running Resolve V9 and have read in blackmagic’s specifications that their new scopes were fairly good, but haven’t heard anyone confirming it!

Your idea of combining mac mini + bmd ultrastudio recorder + scopebox is great! I guess I might do that!

I still have one question, though… so, I would connect the BMD Ultrastudio Recorder trough SDI from the output SDI from my Sony PVM monitor? Sony’s PVM 1741 manual says “The signal from the OUT connector does not satisfy the ON-LINE signal specifications.”, so that would mean the signal is not trustworthy, right?

If so, how could I connect any scope?

I’m thinking: If I install ScopeBox in my main computer (which is connected to the BMD Ultrastudio Express) couldn’t it “read” the signal that it’s receiving and do the work? I’m saying that ’cause Ultrastudio Express is both a monitoring and a recording device.

Thanks for your time

Pedro Saboya Burgos
Assistant Video Editor
Video Editor

[Pedro Saboya burgos]

Hi! Have you fixed this issue? I have the same problem!

Pedro Saboya Burgos
Assistant Video Editor
Video Editor