William Edwards
Forum Replies Created
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DG FastChannel.
I am outputting a DNX 175. I see the native output of this spec in the QT options is Rec709 though, which is awesome for me, right?
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How would I begin looking for this?
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I have cine files in the media pool, set to ‘auto’ levels in the clip attributes.
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So you’re finding that it links up to the ‘top’ level versions?
My issue was that when I went to render out a piece, I would dup a sequence with addon handles of 2 seconds, then do the color trace, but it would never hold on to the versions that I was using as my final. Heck, even the tracking wouldn’t necessarily be correct. If this issue is fixed, that would be really great to know!
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I’ve given up using color trace for outputs as they don’t hold the proper versioning, and it can get quite confusing.
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Hey Stig,
If you wouldn’t mind, it would be great if you could answer the questions I had mentioned before? I’d really love to hear what you could suggest as the best course of action for import through export in Resolve, and then try it on my own.
Thank you!
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Yes, that’s what I’m saying.
It’s kind of odd, because the ‘alarm’ in Avid doesn’t go off, yet the scope in Avid tells me that my chroma levels are too low, and the RGB alarm on my FSI monitor does go off.
Strange?
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Hi Joseph,
What would you recommend?
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PS I’ve had clients ask me for ProRes for Avid out to Broadcast before, and I bet that was AMA’d then imported. This is the first time I’m sending it out to Broadcast myself.
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Hey Stig,
This would even happen with AMA then import, then check that imported clip?
It’s the RGB chroma values I’m looking at.
What workflow would you recommend? Auto on clip import in Resolve, then export at ‘scaled legal video’? Or Video on clip import in Resolve?
Yes, the broadcast safe filter does clip. This is a good thing in case there’s an errant pixel that Resolve might have missed, correct? The problem is that I’m seeing too much remapping of the RGB values (in this particular case it was too much green color in the low values).