[Ty Delgaty]

I thought I would respond with the solution to this for whoever comes across this issue. Turns out, when using a wide gamut color managed workflow, you need to have your render resolution set to DNxHR 444 in order to retain details in the shadows.

[Ty Delgaty]

Looks like I was due for an update. I’ll report back if I find the problem has gone away.

[Ty Delgaty]

I may be wrong, but I think this is now broken in 2021.

Can anyone else confirm?

[Ty Delgaty]

THIS WORKED. Thank you.

The next show with this company just got 4.5x easier.

[Ty Delgaty]

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Thanks.

Let’s say I don’t have another drive. This is why I am using the AAF export function to copy the AAF media into a folder that is not on the root, but into it’s own folder that I can deliver to the house.

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[Ty Delgaty]

Ahh, of course. This brings me back to my tape days… I will try this today and report back.

Thanks!

[Ty Delgaty]

Hi Sally, did you ever figure this out? I am in the exact same predicament.

[Ty Delgaty]

Thank you. It’s not so much that I’m concerned about the show being short, because I catch it and adjust the effect, but it’s more about the inconsistency. Sometimes I get a show from offline, and the last frame of a dissolve is (very dark) picture, and sometimes it is black.

[Ty Delgaty]

My apologies for the way late response. I’m seeing this in MC and on my scopes.

My issue is that it’s inconsistent. Sometimes I get a show from offline, and the last frame of a dissolve is (very dark) picture, and sometimes it is black.

[Ty Delgaty]

Thanks Neil. I checked my Reel column and it’s empty for nearly all my clips. For each recurring shot, my tape column names match (Resolve did this I believe).

I tried what you said and did a bulk edit of my reel column for anything that was empty and just called it the name of the episode, so that it’s common. Still no luck. Is this what you meant?