[Rodrigo Silvestri]

I just want to have “the same” image I’m having currently with Color and just the DVI connection, but through the DeckLink + HDLink. Simple.
I know might not perfect, but I already work with this and see good results in DCI screening rooms and broadcast monitors, so I want to stick with the same parameters.
Plus, the sRGB color space is the same as the REC709.
I just want to find a way to translate the curve in the ICC to the HDLink.

Rodrigo.

—
Following the rules often gives perfect results without actually learning.
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[Rodrigo Silvestri]

Thanks 😀

—
Following the rules often gives perfect results without actually learning.
twitter.com/rsilves
http://www.rsilves.com

[Rodrigo Silvestri]

Hey guys, thanks for your help.
I bought one HDLink DisplayPort and one DeckLink card, they’l be arriving this week.
I was reading the specs of the HDLink card and I just noticed it says that it needs a 1920×1200 monitor for HD1080 video through DP or DVI-D. My display is DP and DVI-D 1920×1080. No HDMI.
Will it work? Or should I get a 1920×1200 monitor too? :S

Thanks,
Rodrigo.

—
Following the rules often gives perfect results without actually learning.
twitter.com/rsilves
http://www.rsilves.com

[Rodrigo Silvestri]

Ian and Craig:

I already did those steps and explained what happens in my first post 🙁
It doens’t surprise me that when I try again, the same happens.

Thank anyway.

—
Following the rules often gives perfect results without actually learning.
twitter.com/rsilves
http://www.rsilves.com

[Rodrigo Silvestri]

How can I do this with 2.12?
I haven’t found a way yet. XDCam Transfer recognizes the folder but not the clips inside it.

Thank you.
Rodrigo.

—
Following the rules often gives perfect results without actually learning.
twitter.com/rsilves
http://www.rsilves.com

[Rodrigo Silvestri]

I work as a DIT an already know all the things you told me. It happens that as I normally work in a professional environment, I knew about these problems but I wasn’t ever in charge of resolving it.
I received this project after it was edited, to do the color grading and mastering.

Sony’s version numbering is totally confusing. 2.12 would be next to 2.1 (2.10). They should have numbered it 2.01 and then the 2.12 would be correct to be considered the newest.

Another company that does this is Apple, with OSX, but their release info is somehow more accessible 😉

I did create a folder with Clip Browser. No way to drag the files inside the ClipBrowser windows. Please explain me how you’d do it 😉

XDCAM Transfer (2.12) opens the folder but shows 0 clips in it.

Thanks everyone!
Rodrigo

—
Following the rules often gives perfect results without actually learning.
twitter.com/rsilves
http://www.rsilves.com

[Rodrigo Silvestri]

We don’t know anything yet, but we can hope that if FCPX doesn’t export EDL/XML the industry keeps using FCP7, Avid MC and Adobe Premiere.

Rodrigo.

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Following the rules often gives perfect results without actually learning.

[Rodrigo Silvestri]

I think that in the end it depends on the tools you have.
I work in a post production house and at home.

At home, as I currently use Color, I need to do the mastering in Final Cut, so most of the titling is done after the color grading. This will change after I get Resolve.
I think I’ll end up doing only the color grading in Resolve, then titling and subtitling in FCP when needed.

At work, we use Iridas SpeedGrade for onlining, which can export a single master file or every clip separated, and can also mix clips with alpha channel. So we normally do the online in there.

Rodrigo.

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Following the rules often gives perfect results without actually learning.

[Rodrigo Silvestri]

In my point of view, the OpenCL support has a lot to do with the free Lite version: be able to install it in almost any Mac, grade easily on-set, then use those settings for grading in a proper grading suite.

Rodrigo.

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Following the rules often gives perfect results without actually learning.

[Rodrigo Silvestri]

I’m not very experienced using DaVinci (yet) but I work with other color and post production softwares and this is a common problem.
One way to “resolve” this would be to export the still image as a video (with its right duration), then import that video into FCP and replace the still image, so the new timeline is only connected to video files and not other kinds of media.
Then do the normal EDL workflow to import that sequence to Resolve.

Rodrigo.

—
Following the rules often gives perfect results without actually learning.