Robbie Carman
Forum Replies Created
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I’ve been through this issue a 100 million times and tested everything. My issue is never with legal luma or chroma values its with RGB Gamut. As far as I can tell (looking at external parade, and diamond displays) Resolve does not do any sort of RGB Gamut limiting and even with LUTs applied we were still getting kick backs from QC.
At the end of the day I gave up. Our current workflow is HD-SDI output from Resolve/FCP through Harris DL860 > Ki Pro for recording to ProRes. This solution works nice as the Ki Pro is seen as a “deck” with FCP through RS422. Of course we’re limited to ProRes in that workflow but thats fine as most of our clients are asking for ProRes deliverable files We’re planning when the Cinedeck RXs are available to get one of those as they’re much more flexible recorders.
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion
An Editors Guide To Adobe Premiere Pro -
yeah its not the most apparent workflow with the mixed files but as rohit points out create L/R folders in the media pool and right click to assign that eye. I’ve been using Cineform S3D footage for quite a few projects and it rocks! Auto alignment tools are fantastic.
Only thing I wish was that there was better support for active metadata with NEO 3D and Resolve. Maybe there is but updates in NEO 3D don’t seem to update through to resolve. So we’ve been getting it about right with NEO 3D (convergence etc) and then doing fine tuning in Resolve.
You probably realize this already but get ready for doing a lot of convergence dissolves – if I had a nickel for each one I’d have my own island!
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion
An Editors Guide To Adobe Premiere Pro -
Hey Dean –
The hard clipping at the track level seems to work ok and for broadcasters that aren’t as tough as say PBS, and Discovery we haven’t had a problem. What we are actually going to start doing is a little bit of weird workflow but after testing it it seems to work just fine.
We’ve ordered a AJA KI Pro (I’m sure the hyper deck studio from BM would do the same) this box has RS422 on it so from FCP 7 you can see it has a deck (I’m hoping resolve will see it this way too). After rendering out a show from Resolve and getting back into FCP in context of text, audio etc I’ll simply patch my system output through the DL 860 to the KI Pro. Since I can be frame accurate on the KI Pro its just like a deck so I can “layoff” through the legalizer and just not have to worry about it. The cool part is the KI Pro can act like a network device so after layback to I can simply copy the file off it to a clients drive for delivery.
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion
An Editors Guide To Adobe Premiere Pro -
[Sascha Haber] “Besides from running flawlessly, the most impressing thing for the client was that after they approved the grading , they could render at their side and we had no shipping cost and delay.”
The only thing I wish was that you could initiate a render on to the other system remotely. Right now you can only initiate on your system (renders to your box) or as you did have someone on the other end start the render on that box.
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion
An Editors Guide To Adobe Premiere Pro -
I’ve done it a ton in the way that Dan describes – the hardest thing is opening up the right port on the routers on both sides. Of course keep i mind you do need to have the media on both ends
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion
An Editors Guide To Adobe Premiere Pro -
Thanks guys – I of course understand the difference between track and clip level nodes, that wasn’t the problem for some reason I was unable to add a track level power grade. However troubleshooting 101 did a restart of the box and all is right with the world.
Gustavo – to answer your question yes resolve sort of has the ability to limit levels with the Normally Scaled option however it doesn’t appear that it does any sort of Gamut Limiting. Looking at RGB gamut on a diamond display even with that option on its possible to get over/undershoots and all the broadcasters we deliver to are sticklers about RGB gamut. Normally we’d just go through the DL 860 and back to tape but for tapeless delivery its a bit more challenging and none of the FCP legalizers seem to do anything with undershoots.
So to remedy that what I’ve been doing is just doing some clipping on the track level to hopefully eliminate or lessen RGB gamut issues. As I said I would love Resolve to have proper gamut limiting with out having to resort to a LUTs – I’m testing that workflow today
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion
An Editors Guide To Adobe Premiere Pro -
Well I paid 30k and actually did it twice to get two sets of panels for two different rooms. However (and you should talk to your accountant about this) we didn’t buy them out right we went through a leasing company and leased them. This is how I handle all major equipment purchases I hate the feeling of being left with equipment that is outdated in a few years, by leasing I can return the panels and then lease the latest and greatest when it comes out.
As far as the big panels go they tend to be a little more evergreen then say a computer or graphics card. I mean there are still a lot of older 2k panels around. You have to judge when leasing what you think the usable life of the panel is for us that was 3-4 years so we leased them for 39 months. By leasing we don’t have the initial major cash outlay and the monthly payment is workable. I disagree with an earlier post about a client never noticing. Our clients notice and feel more secure that we’re committed to our equipment and have invested in trying to give them the best. In fact since we secured the big panels we’ve been able to push our rates up almost 25%.
Again to each their own and please don’t take my accounting advice, but I’ve never been happier with other panels and I have no real complaints about the Resolve Panels (except that there is no off/power switch!) They allow me to do my job so much faster. Lastly, when you compare them to the wave, mc color, jl cooper etc I think its wrong to say that BM handicaps the mappings. The fact is those panels have a LOT LESS buttons and knobs to map too and there are only so many levels of shift and paging.
My 2 cents
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion
An Editors Guide To Adobe Premiere Pro -
nice one josh!
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion
An Editors Guide To Adobe Premiere Pro -
well said Sascha!
I had a show last week where a subject was standing about 4 feet from a green neon sign and the client was like his skin tone doesn’t match the previous scene. Of course it didn’t! The whole perfect skin tone thing drives me a little bonkers because there is no such thing and as you point out the illuminant in the scene should be the main diving factor. The flesh tone line that everyone is always trying to get trace right on is not a hard and fast rule but rather a target, some people are a little more red, some people a little more yellow.
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion -
no the card is not the issue although you’d benefit from a beefier card for playback etc. Here is how I’ve been doing that online/offline workflow and it seems to work well.
1. Offline edit with FCP with ProRes generated files from Original R3Ds thru log and transfer paying careful attention not to change reel name and also leaving org. clip name in tact. We’ll often do something like this Org. Name_New Name
2. Complete the offline edit and export XML from FCP
3. In Resolve create new project with correct finishing settings etc. Add all the original r3ds to the media pool.
4.. On the conform page load the XML in the dialog that opens up simply deselect the option to automatically load clips in the media pool as well as the option to automatically configure project settings.
5. Resolve should automatically relink to the R3Ds if you haven’t altered timecode or reel name. Just keep in mind you might need to adjust the setting in preferences to conform with reel name from comments.
6. Grade the project render out to format of your choice most of the time for us this is ProRes 4×4 or HQ and then export xml for FCP.
I’ve done probably a dozen projects like this since resolve 8 came out. Works like a charm.
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion