Amada Daro

The checkbox is there to let the network know that the 100% black frame is intentional. The same goes for if you have audio that looks like mono because the same sample plot is played both on A1 and A2. This is a feature in the most advanced tools used for uploading to the European networks through various delivery services such as Adstream, IMD Cloud and Adtoox. The same tools remaps extended luma levels from data range clips etc. Not telling you this because these tools one day will kill the business of the man manually checking and adjusting for QC. I'm telling you this because that's the way it works in Europe for Ad delivery to most of, if not all of the big networks. I totally trust you in how things works in US, not saying a word about that because I have no clue at all.

For the black frames Dermot mentions, the delivery services usually have a check box which let you tell them to ignore the black wholes. Same goes with audio and letterbox which the QC often kick on. In my experience the QC pass anything as long as your levels are between 16-235 and it's been years and hundreds of commercials since any trouble. What was a big problem back in the days was when delivering from Avid. The timeline in Avid is 16-235 (full range in Premiere/Resolve) and sometimes we had graphics with extended range because it wasn't imported properly (not remapped from data levels upon import). That would case illegal levels and make the render fail QC. I just learned to scroll through the timeline with the scopes open to scan for irregular luma levels. But for what I got from the colorists was never any trouble. I simply imported it with the RGB mark checked, which remapped everything to 16-236 and it worked absolutely fine.

I have never inn ny entire life seen a colorist care a tad about broadcast safe. You can do whatever you want, clip chroma values and luma levels - full creativity, create what you want. When you render your sequence, render to e.g prores which will remap the full data signal to legal levels (16-235) Everything will fit perfectly in there. Then, deliver this file to the broadcast service or third part delivery service which create the interlaced TV ready file. I have delivered hundreds of TV commercials this way all over Europe and it works perfectly fine. All networks that I know about have a EQ service that creates the interlaced file while checking the luma/chroma graphs, clock, audio, letterbox and black frame issues etc and they eat mezzanine files. Grade, and be happy.

Are you delivering directly to the network or through a delivery service such as Adstream and Adtoox?

Anyone tried Mistika Boutique? It looks like they support BlackMagic Design output now so it's easier to check it out.

Nice one!

I have been using DaVinci Resolve for more than a decade but these workflows are completely new to me as I have only been working display referred. I think you have managed to make this rather complex topic very easy to understand. Looking forward to dive into both RCM and ACES.

I agree that they could produce more "what button to push" tutorials as the bleach bypass and the spotify videos. That said, I have developed my skills and become a much better colorists by studying the color grading cases and the insights such as the one about printer points. By reading about the different techniques, node structures, workflows and the thoughts behind decisions etc from the best colorists in the world is so much more valuable for me than anything that I have watched on the other sites.

Stabilization in Fusion is demonstrated in several lessons on Lowepost. I remember that the building replacement course has it covered very well.

This is by far the best Davinci Resolve course I have seen. With limited knowledge I was able to follow and the techniques shown are very useful to me as I have started to do more and more finishing in Resolve. Thank you Lee!

Hi Yov! Sure, you can edit the tracking values in the spline editor.

Do you know how to freeze frame a clip in Fusion? I have one MediaIn clip that I want to freeze to composite on top of the main MediaIn background clip.

Hi. Do you know if it is possible to decompose a Fusion clip in Davinci Resolve?

Adobe has discontinued MOV for h264 files, and only allow h264 codecs in MP4 containers. Probably because the most known players doesn't always recognize the file as legal and fail to remap it to full range, resulting in lifted blacks and washed out images. I have experienced the same flagging issues with DNxHD inside of MOV and I would go for MXF too.

Gain experience, practice your taste and get a mentor.

Not sure about this, but I think she ment 'keep to 1/4 trims in RGB highlights, MIDTONES and shadows' Correct me if someone is more familiar to the Mistika toolset and think otherwise.

Read the new printer point article here at Lowepost to understand how to use them in your color corrector. By trims she means small adjustments as you can make micro adjustments instead of full printer points. By consistency she probably means that printer points are numbered so that you can easily communicate how many points are adjusted with the rest of the team. Then they can apply the same amount of points on the other images to keep consistency.

I find this article above excellent, and I have never seen a more in-depth and correct presentation of the use of printer points. The techniques explained here is best practice in the high-end facilites and I like the fact that it a long way contradicts the way I have seen printer points being demonstrated in other learning resources online where the corrections and balancing are done without being watched through a curve. Controlling the separate tonal ranges with printer lights would work against what the tool is designed for and the point of creating a clean and cinematic image that preserves the lightning on set.

Good write, it seems like DNxHR is definitely taking over the codec throne. Some seem to use the Cineform codec, any reason for that?

You are talking about contrast management, and it's perfectly doable to create a bold (and soft) contrast without going underexposed. It requires a combination of primary tools and some experience.

Can you guys recommend a Netflix serie that is worth using time on this weekend?

I remember that it wasn't possible to manually set the bitrate for h264 in Baselight earlier, but this has changed now?

Is a mezzanine file and a submaster the same?

https://ascmag.com/blog/the-film-book/colorist-peter-doyle-video-about-hdr-film

Any software that easily let you grab the audio file from one video file and insert it into another video replacing its audio? I know it can be done in any editing app but I'm looking for something easier and more accessible.