Stig Olsen
Forum Replies Created
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Hi Michael,
You are correct, your corrected clips can not be accessed directly from any finishing tool.
But, you can avoid double compression by using an EDL / XML from your editing tool.Big feature films?
They are often finished in an Autodesk product – Smoke or Flame.
The best way for you is to render back in MXF 185 (Avid) or Prores (Final Cut) for lining up with the audio and titles.stig
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USB3 on both ends.
Can mac drive be the bottleneck? What speed should I be able to get?Stig
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690 works fine on my machine and helped a lot with Alexa footage
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Daniel,
You dont need to regrade. 0-1023 is ok!
When delivering you can use adtoox, adstream or similar file based delivery companies. They have softwares and internal controllers that will make sure your commercial is within legal ranges.
Or, you can go with a hardware legalizer (tape machine)
Stig
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Ok,
I dont know how it is handled in Premiere, but Avid / FPC works 709 internally and that is the way it should be in my opinion.
Flame, Davinci, Scratch etc works RGB internally, but they all have the option to set the output monitoring to normal range – as most people do. Then both the editing suites and finishing tools will match.Note: Avid CAN output RGB through a Nitris DX (the only option) but that will cause a lot of other issues.
I find it strange that Premiere will not remap full range footage to 709 when import as RGB. It should.
Stig
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Hi,
I dont think what you are dealing with is a gamma shift issue.
Most editing softwares is not ment to output RGB (full range), so you need to make sure everything you import in Premiere is normal range. Meaning that the black levels are set to 16. If you have full range footage you need to import as RGB and it will then remap your footage to 709 (black at 16.)
Your monitor should be set to Rec709 and 16 will then be seen as pure black on your monitor.When exporting to Davinci you need to export as RGB. It will then remap the footage to full range and the blacks will show as 0 on the internal scopes in Resolve.
Make sure you set the output to normal range.When rendering to Premiere choose normal range.
Stig
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Hi,
My bet is that it is exported as 709 from Premiere.
If you export your clip as a RGB file, it will keep it full range or remap to full range if the material in Premiere has blacks set to 16.Search for some of Peters posts on this.
Stig
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I agree!
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Noone is telling you that Symphony is better for color work, but those tools you are asking for is in Symphonys tool box. Stig
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When working on television shows there are often no need to do a full grade, just some adjustments of black level, highlights and some basic white balance adjustments.
These are shows that contains hundreds of clips and you sometimes have less than a day to make it make it shine.Avid Symphony is made for this, and you have a bunch of this “auto” buttons that simply adjust the blacks to the bottom line, the hightlights to the top, a button that if you are lucky can balance the picture for you and so on.
I can see that you miss this “magic buttons” in Resolve. I would rather use Symphony for this task.Stig