[Subrata Sen]

Yes, Resolve NR works pretty well in selective areas. You have to use the picker to pick up the noise-afected areas, narrow it down to the places where you want the NR to be applied. It works.
Once in a while two nodes for two different areas might be required.
Real-time playback with NR? Very difficult in Resolve.

[Subrata Sen]

I have recently calibrated my 46 inch LG plasma TV which acts as the client monitor in my Da Vinci Resolve suite. I have used Spyder4TV for calibrating, with good results. The primary grading monitor of my system Dell UltraSharp and its calibrated with Spyder4Elite. I could never eye match the client monitor till I went for TV calibration with the Spyder4 designed for TV.
Now, here is a small catch. The Spyder4TV calibrator works with the Spyder probe measuring colour, etc, from a dvd which needs to be run from an external dvd player. However, the calibration that it provides, did not match with the Resolve output (through my Intensity Pro card). Probably the Intensity Pro card has different colour rendering than a normal DVD player. So I had to resort to some tweaking. I grabbed the pictures from the DVD provided by Spyder, placed those pictures on a Resolve timeline. Then followed the calibration procedure of Spyder. And Voila, my grading monitor and the client monitor looks the same now!

[Subrata Sen]

Yes, the FCP even after stretching shows 24 fps. Even the video shows 24 fps.

[Subrata Sen]

@Andrew: It’s not necessarily true that you have to export the video and sound together. If you export the video and the sound tracks separately in 24 fps (after matching the sound with 99.9% stretch) they will match in a non-fcp platform (for example in soundscape or protools and also in all cinema platforms like DCP and DI platforms where sound and picture need to be separate for cinema projection). The picture in cinema platform will run in 24 fps, despite the FCP’s anomaly of running it in 23.98 fps and hence the audio goes perfect lip sync with 24 fps video out. I had just completed my feature film and figured this out with lots of sleepless nights.
If you are not going into cinema platform and will stay in video platform only, you can do the following: give the output of the video track and the audio tracks separately in 23.98 fps. Now they’ll match after you import them back in FCP timeline.

[Subrata Sen]

I have arrived at 99.9% exactly from this aspect which you have pointed out. And getting perfect lip sync. Somehow, despite the FCP timeline showing 24 fps, I have this feeling that the video runs on 23.98 fps, and the audio takes the 24 fps normal route. To match, the audio has to be stretched like this: 23.976 divided by 24 into 100. This comes to 99.9% and the audio matches beep to beep.
I have a feeling that either this is a bug in FCP or maybe I have put some selection in FCP on, which goes for preserving the camera metadata, ignoring the timeline settings. Have not been able to figure out yet. Any clue to solve this?

[Subrata Sen]

This craziness keeps on happening to me all the time, and I have to stretch the sound by slowing it to 99.9% and only then it matches. This 99.9% thing

[Subrata Sen]

This craziness keeps on happening to me all the time, and I have to stretch the sound by slowing it to 99.9% and only then it matches. Any plausible reason from anybody?