[Stig Olsen]

Hi,

Normally most facilities work DNxHD36 in offline mode. When the edit is approved, relink to DNxHD185x. X = 10 bit.
Export AAF that generates a “link” that points back to the 10 bit files.
Then import the AAF through the Automatic duck module in After Effects.
Grade/VFX and export as DNxHD 185x. It gives you a mov-container so that they cant be dropped in the avidmediafolder – BUT they fast import in Avid.

You need to work with the same codec (DNxHD) to ensure that you are not facing chroma or luma issues along the path.
Also make sure you turn of color management in AE and do not use LUTs is AE as the mediacomposer cant work with LUTs.

Also, the mac screens are 709 and the output through Mojo DX (not Nitris) is 709 so you need to be consistent. Especially when you dont have proper set up monitors.

And for the Final Cut part… get rid of it! It mess up your workflow. You need to work with only one codec from start to finish.
Yes, animation is good for alphas but it will be a slight chroma issue for the video image so you should do all the “alpha effects” in AE except graphic and text.

Stig

[Stig Olsen]

Hi Ola,

Is it the customer or the broadcast company that tells you this is not legal?

You have several options for the norwegian TV-channels:

1. Work full range all the way – when you deliver through Adstream or Adtoox, use the built in E.C coverter and the scale the full range signal to legal signal for you.

2. Output to tape through a deck that scale the full range signal to legal.

If you want to play legal all the way – soft clip the highlights, you dont need the video-LUT.

Do not use the broadcast safe layer in FCP or in Avid. It clips the signal and it will look like a real mess on TV. Been there done that.

[Stig Olsen]

Thanks!

[Stig Olsen]

Sorry guys, I just found out what was wrong…

One of the SDI inputs on my new OLED-monitor is causing the problem.
So, I guess this will be returned and fixed.
I also had a guy over from Sony some weeks ago that did calibrate the monitor that was connected to this input. Guess he will need to come back…

Thank you very much for all the help, I really appreciate it – although it was not a Avid-problem this time!

Stig

[Stig Olsen]

Hi Joseph,

I have tried that, and as for the MXF-default-avid setup, it only let you render in source mode.
i have also tried prores with AMA and changed to the source settings to both native and full.

There is no option in Avid that let you output with any gamma corrections.
The only thing is that if you output through Nitris – it is possible to output full RGB. This is not a possibility to me as I output through Mojo DX. (normal range)

[Stig Olsen]

Ok, my Avid is connected to Mojo DX.

You can download the MXF file and some prints from Avid on this link – https://www.filemail.com/dl.aspx?id=QLTNMBQGJZFBREN

I did try to import it back to Resolve and that worked great. But in Avid, the monitor shows a dull and flat image.

Thanks for helping me!

Stig

[Stig Olsen]

Desaturate the red first and use the color wheels instead of the hue vs hue. Also, learn some basic about how to make secondary colors with the curves. Horizontal manipulation on the blue curve in this case.
You can also use the channel mixer.

[Stig Olsen]

Thank you, yes when Im back in the office.
And to be sure… you are working without any soft clip LUTs that clips the signal to 64-940?
I do work with black to 0 and white 1023. output monitoring scaled and render scaled.

[Stig Olsen]

Andy: AMC 5.5, signal out through mojo DX.

[Stig Olsen]

Do you output through mojo dx or nitris? I guess Nitris is the only possibility to have RGB output from medicomposer. Do you see any difference between project mode (RGB/normal)? Maybe it has something to do with different graphic cards on the two macs?