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I am having the same issue in conform page. It works fine for 2 min than image just disappear, also in offline/wipe mode. but on HDSDI output image is there.
Color grade reel: https://vimeo.com/15480583
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Today I was doing the same thing for 50fps shots, to get them in 25fps slow motion for editing… And yeah stil frame BUG!!! Big thanks for solution!!
I agree Resolve (vers 8) do not have the best retiming! But if your are going 50fps->25fps it is OK, because it is just a matter of frame based change.
Color grade reel: https://vimeo.com/15480583
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+1!
Done some c300… big difference!+1 for Steve Shaw and Light Illusion services! Tools are very powerful and Steve is the best support I have ever invested!
Color grade reel: https://vimeo.com/15480583
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I am doing it also like this. viewing in legal range, grading full range DPX scans, exporting in full range XYZ Tiffs for DCP. It works pretty good! Just be careful not crushing the blacks to hard, what you see in legal range as little clipped in full range DCP it will be super deep black.
Is there any difference on using HDMI or HD-SDI from DeckLink 3D in manner of full range? I am using BVM CRT in legal range, but would the BT300 have an option of setting the signal to full range or video range, but it just clips, it does not work the proper way. I assume it is because of HDMI signal, would i need to use HD-SDI-DVI or HDMI box, as HDlink perhaps?Color grade reel: https://vimeo.com/15480583
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I am using 50″ model for 3 months now. I do not have a LUT box, I have just come with the internal CMS and lots of different settings very close do the R709. I am profiling it with LightSpace CMS and it gets quite nice results. On SONY BVM 20″ CRT the image looks (and measures with probe) very very close to Plasma. By eye nobody can se de difference (clients).
Out of the box is quite far from the spec, but you can get close without a LUT box (just need the probe an CMS to measure what are you ding). Now I am judging between Davio and HDlink, I like Davio because of two LUTs, I can use one for CRT and one for panny, but still you get two HDlinks for price of one Davio.So far I am just finishing a feature film and the proces from Resolve suite, panny+CRT to DCP screenings the results are very good. CRT is the same as DCP but panny just crushes the blacs for a little, like 1-3 IRE on bottom of waveform just get a bit smashed. But I believe the LUT box can fix that.
How do you feed your pannys with unscaled or normally scaled legal video, for video out processing? There are some ranges of the chroma that panny just clips off… but never in the grading session, just on test charts.
Color grade reel: https://vimeo.com/15480583
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One more thing I am hoping to be resolved in V9! Sounds like 64bit will be able to use more RAM?
Color grade reel: https://vimeo.com/15480583
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I usually use color transformations like LogC-Rec709 etc. in between the grading node tree. For Alexa you can generate different, LUTs from their website and play with them What creatively and in point of digital image math suites your workflow. For DCP delivery I grade all in Rec709 and when rendering out I use custom gamma correction LUT (2.2 -> 2.6) on a “track” nodes and render in XYZ option in render. For my Rec709 calibrated CRT and plasma it works perfect for DCP projections. At least in two different near cinemas on some tests.
But generally LogC LUT I use one or two operations before the and of node tree. Like having 5 nodes, the 4th node is LUT. But it is not exactly the same for all the projects. You can be a bit creative with this color transformations in what order of grading you use them. Generally using it as input LUT it just gets your options of manipulating image a bit more narrow.
Hope it helps
Color grade reel: https://vimeo.com/15480583
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I would say no to JVC (I have in studio previous version of this 24″ panel) Sony OLED form my experiences, viewing angle is a bit better than JVC. But still I would go for good used CRT Sony BVM. You can get them in EU for that budget.
Color grade reel: https://vimeo.com/15480583
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I use this workflow very often it works great, only bad thing is with versions. But in there is a shortcut mapped on the panels called “default version” It just gets you on version 1. Is there an option to set the “Default” versions. So after importing a new cut you just go true shots and select one button command, “default version” and it would turn on the version you have chosen is the final version you wont to apply.
Cheers
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Rec709 in EXR out in Nuke will clip info and would not be the same like linear render and than lin-rec709 LUT. I will be doing similar thing soon. Will post my progress if I get somewhere 😉
Color grade reel: https://vimeo.com/15480583
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