[Tero Ahlfors]

Well could you not use the color match in that case?

[Tero Ahlfors]

If you’re exporting individual clips any speed changes won’t be used. The point being when you’re roundtripping it back the clips would have the same speed and timecode as the original so it could be reconformed.

[Tero Ahlfors]

If you stop paying you can’t use the software.

[Suzin Daly] “At the school, they stopped paying 2018, all the students have access to CC still….”

There is a certain callback time and at least in bigger licenses it’s around three months instead of the one month. So it might be that or then they are using some illegal version.

[Tero Ahlfors]

In addition I could make an audiobook about me reading the whole Resolve manual. And a new version every time it’s updated.

[Tero Ahlfors]

[Gerry Cast] “My Spyder 5 will only calibrate monitors hooked directly to the computers video card, so how do I calibrate with my Sony hooked to the Intensity Pro?”

You can create calibration LUTs in this case. I use Lightillusion’s Lightspace but there are different options. Also the Spyder probes are notoriously bad and not recommended. The Xrite i1 display pro is a good cheaper model probe.

[Gerry Cast] “My color calibrated Ben Q computer monitors are showing my deep rich colors, and the Sony Reference monitor looks a lot less saturated.”

Deep rich colours aren’t necessarily correct. If you’re doing an sRGB or Rec709 project on a wide gamut display the colors will look nice and vibrant but they aren’t right for what you’re trying to do.

[Gerry Cast] “Or, can I just get rid of the Intensity Pro external unit, plug the Sony monitor into my computer’s 980Ti card, calibrate using the Spyder 5 and then move my Premier Pro Program monitor to the Sony Reference monitor, and like you said, do the best I can grading on that?”

No. The point of the I/O device is that it is bypassing whatever the GPU and the OS is trying to do to the colors. You COULD do this (Premiere should have some ICC support now but I haven’t tested it) but you should know EXACTLY what you’re doing and validate that you’re actually seeing what you’re supposed to see.

[Gerry Cast] “I’m starting to suspect Adobe Encore is doing some Gamma (is that brightness and darkness?) shifting when outputting to disk.”

No. It’s using whatever you’ve put into it. 99.5% of these cases are wrong viewing/playback options and if something looks lighter or darker then it is usually a video/data level issue. Check out: https://www.lightillusion.com/data_tv_levels.html

[Tero Ahlfors]

Also this is one of those main issues that even professionals are still fighting with in professional color pipelines. It is a waste of time trying to get this thing working in real projects and it is even more wasteful if you’re a hobbyist using whatever gear of varying accuracy. Just do what you do and have fun with it.

[Tero Ahlfors]

What are your EXACT export settings?

[Tero Ahlfors]

Or call the designer.

[Tero Ahlfors]

Have you added it as a master clip effect by mistake? Then it would affect every clip edited from that video.

[Tero Ahlfors]

You can type in timecode in source/program/sequence panels.