Stig Olsen
Forum Replies Created
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I have no problems with the normal monitoring workflow, but I cant see why you guys are using it. Like I say, if you have a grading monitor (it doesnt matter what kind) you should be able to view full range. A regular TV can show black levels under 16. If I understand things correct, everyone working with normal monitoring limit their work. Flame/Smoke/Avid/AF can read full range, so why should we monitor normal range. And the method of monitoring normal range for then to render full range is completely something I dont understand, as it leaves you with no control. What you see is not what you get, working that way.
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The only thing I can understand is that I should work full range and render render full range. DPX or something that dont scale. Please give me one good reason why I should monitor normal. I know people here say they do, but I cant understand why. It gives limits that should not be there.
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Hi Kevin. I do also monitor normal, but I guess this is wrong because it naturally will not let me work with real black. And I cant work with the monitor set to normal range and export full range, because then I get a resultat that is different than I have seen on the monitor when grading. This is some silly mess that is not logical to me.
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Hi Kevin,
We use OLED and the Panasonic BT300.
The OLED is set to ITU-709.It is a significant change in depth (black levels) when switching from normal to unscaled monitoring in Resolve. Is this what you mean with “set up to accept only broadcast legal levels”?
The way you are working (internally full but output legal), do you mean that you do something special to work this way – or is it the normal way Resolve reads, lets say, RED-filesø?
When you render full range (and viewing normal range) I guess you miss control some place? Like when you transfer the material to online.
I cant really see the logic in this.
Stig
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This is exactly why I dont understand why we should use this normal range button.
If you work unscaled you will have the entire range to work with, without any limitations. It doesnt matter if the TV channel want it broadcast safe, because you can simply scale (not clip) the full range image to a normal range image if that is what they absolutely need.When I talked to the technician today that do masters for commercials everyday – he told me he everyday deliver everything in full range.
Anyone else have some opinions on this?
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Sure,
But it confuses me that all of the other commercials Im referring to graded at other post production companies from both Oslo and Stockholm deliver their films in full range, when everyone at this forum say the always work with the normal range button checked.
Anyone here working full range, and deliver full range for TV? I dont really see why some colorists need to work with that normal range button checked.
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Hi,
Do you work normal range for TV delivery?
I have always done that myself, but figuring out today when moving my final file into an Flame with a lot of other commercials (from other production companies) that they were all full range except my file. Adstream let you deliver with true black for TV. -
Hi Jamie,
I cant find a way to cycle on/off the black magic resolve driver and turn off 444, where to do that?
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Thank you guys, I will try that.
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Hi,
The setup is the same as before, declink, a couple of graphic cards and a red rocket in the recommended slots.
The only difference is that I did upgrade to Lion and the latest davinci patch with the latest drivers.Really noone that have experienced this magenta/pink blinking?
Stig