[Toby Tomkins]

This would indeed be a handy feature! Although keying in log with the current HSL scale is possible, it would certainly be quicker if there was a log scale mode or if the ranges of the HSL scale could be used adjusted.

I really hope this is implemented.

[Toby Tomkins]

Amazing. Thank you.

[Toby Tomkins]

It’s software that you use to convert dslr h264 to prores.

I meant to say it does some nice filtering of the chroma information in the image to help with the low colour sampling of dslr footage (4:2:0 chroma subsampling)

[Toby Tomkins]

Use 5D2RGB for the conversion. It five some nice chroma filtering to help with it being 4:2:0

[Toby Tomkins]

I second this! It would also mean flips/flops are independent to each clip which would be great when using remote grades!

[Toby Tomkins]

12-core MacPro if working with RAW formats, or HP Z820, both are 4K capable, especially with DaVinci 11’s new caching. CPU grunt is still important for RAW formats and encoding.

[Toby Tomkins]

Is your monitor set up as 2.2, 2.4 gamma or BT.1886 gamma?

SRGB and Rec709 share the same primaries / colousrpace, it is only the referred display gamma that is different, so all you need (ideally) is a 1D conversion LUT depending on your gamma set up, or a cowboy approach would be to just use your gamma control in resolve, do tests, and save the adjustment you find preferable in your Power Grades (-; If doing this I would also keep an eye on saturation as density effects perceived saturation.

Having said that, in the real world computer monitors’ gamma are all over the place, and phones and ipads are even worse, with many Apple displays being slightly high in gamma. With most of my music video clients and occasionally viral video clients checking the output on their iphones, ipads and macbooks, I find grading for 2.35 Gamma to get quite close to most new Apple screens. See here for more;

https://www.tomshardware.com/reviews/ipad-3-benchmark-review,3156-4.html

https://www.displaymate.com/iPad_ShootOut_1.htm

https://uk.hardware.info/reviews/3417/4/apple-13-inch-macbook-pro-retina-review-display

So it also depends on your demographic!

[Toby Tomkins]

It’s a bin for sequences in the edit page.

[Toby Tomkins]

Hello Elizabeth,

It would be destructive to appy a LUT in DaVinci and leave it active for the export. From a colourists standpoint I would recommend either not adding a LUT and then using one in the offline NLE during the offline, or using a LUT to create offline transcodes for use in the edit and then conforming back to the original files for the grade. The latter is the easiest it has ever been, and if the offline is handled and prepared with a little care it can even be a 1-click process in DaVinci to reconform to the source files.

A dirty alternative is to apply LUT and then increase the lift and gamma a little and lower the gain a little to get a flatter image (somewhere between log and normalised but closer to normal). This would look OK for the offline and would also give the colourist some latitude to play with in the grade. I would not recommend this workflow and if used I would note down the figures used (lift gamma gain figures) so the colourist could essentially undo them and get back to the LUT’d image if they wanted to.

[Toby Tomkins]

For anyone else having a problem of this sort here are my findings;

-DaVinci can read symbolic links as if the media was there.
-DaVinci can’t read alias links.
-There is an Automator script called ‘Create Symbolic Link’ in ‘Junecloud Automator Actions’ that can be used to create sym links for files or folders in conjunction with other actions in Automator.
-With some bash scripting you can also later change these sym links to complete files.

Could be handy for future conforms!