Bruno Mansi

I think you're talking about a DCTL that can set middle gray? Cullen Kelly has a free Exposure Chart DCTL. He explains all this YouTube video which also provides links to download the DCTL

Not clear from your post if you're running the Flanders directly from the Mac or from something like a Blackmagic Ultrastudio monitor 3G

Just tried some tests with the HDMI output to an Eizo monitor and the SDI output to my main OLED monitor. 1080p/25 project loaded in Resolve. The 'use 4:4:4 SDI' option seems to feed RGB to both outputs. The Eizo doesn't always correctly identify this consistently in Auto (for it's Input Color Format) so I set this to RGB. You can separately switch the SDI output to Y, Cb, Cr 4:2:2 in the Desktop Video and this doesn't effect the HDMI output, although switching from 1080p to 1080 psf does seem to effect both outputs. Switching the Data levels in Resolve from 'video' to 'full' effects both outputs. The 'auto' setting in the Eizo 'Input Range' doesn't seem to identify the signal level, so you have to set this manually. I've found that sometimes switching back and forth between the Resolve settings and the Desktop Video settings, can cause problems with a setting not 'sticking'. In these situations you have to go away from a setting (say, the 1080p/1080psf) and then come back to it. But in conclusion, I could get my OLED reference monitor to display Y, Cr, Cb, 4:2:2 video levels and my Eizo monitor to RGB with video levels with the combination of 'Use 4:4:4 SDI' (Resolve menu) and 'Video is converted to Y, Cb, Cr 4:2:2' (in Desktop Video menu).

What's Blackmagic Desktop Video Setup saying your output is set to? I've found that to be the main determiner of what comes out of the Ultrastudio 3G monitor

Hi Darren, I can confirm that by adding a Paint effect (with a circular blur) would cause a crash in the Baselight plugin, and I didn't need to add any feathering. It seems to happen when you actually park on the shot with the paint effect. I can see some sort of revolving icon in the extreme top left of the Baselight window, and then everything stops. If you render the Paint effect first, then there's no problem with Baselight, so this is the workaround for now. It must be something to do with the real-time rendering of this effect that's causing some issue with the Baselight plugin. Might be worth a support call to Filmlight, who are pretty good in this area.

When you export the AAF, are you choosing to consolidate the media? This is where I've seen Avid adding the '.new' extension to the clip name, as it's effectively creating a new clip. I haven't tried exporting an audio AAF to Resolve - just picture AAFs, but if I have all my original audio rushes available to Resolve, I would think to just export the AAF without any consolidating or embedding of media (as you might do if sending to Protools). In fact, I don't think Resolve can accept AAFs with embedded media.

Hi Darren, Tried a quick test and couldn't reproduce your crash. So, Baselight on layer 3 with shots on layer 1. Various effects added to shot layer and layer 2, including Avid native effects and a couple of BCC effects. Not done anything too dramatic like stacked effects or multiple Baselight layers. Specs of this test setup: HP G9 Laptop with Nvidia graphics, 32MB RAM, MC 2018.12.15, Baselight version 5.3.16760, no external hardware (eg. Ultrastudio). B

It's always going to be hard to match an internal NVME drive as it's directly attached to the PCIE lanes. The sorts of performance I get ( on HP laptop with TB4) is as follows... Mechanical, single hard drive - 100MB/s SSD drive connected via SATA (eg. Samsung T5) - 500MB/s NVME SSD drive in cheap, NVME enclosure with USB C (USB3.1 Gen 2) - 1000MB/s Internal NVME - 3000MB/s I would imagine that (assuming the interface was not limiting the transfers) for RAID 0 with mechanical drives, you'd be getting anything up-to approx 180MB/s per drive. There are some expensive NVME enclosures with proper TB interfaces, which supposedly can reach the sorts of speeds of internal NVME. There's also RAID NVME boxes that can really push the limits of Thunderbolt. Obviously, SSD is the way to go for ultimate speed, but if you need many terabytes of storage, it might become too expensive if you don't need TB/s of speed.

Are you talking about the USB A ports? I think they're 5Gb max, so not going to be as fast as the TB ports. In the past (not with the Mac mini) I've experienced problems with wired mice or keyboards slowing down USB when connected to adjacent USB A ports. What sorts of speeds are you getting?

I don't know of an 'automatic' function, however, if the timecodes of the audio and grade match, then isn't this just a matter of matching them on the timeline when inserting your audio? If not, then off the top of my head... Lay the synced video and audio such that the video is on a track above your grade and the audio on the relevant audio tracks. Now slip this video & audio so the picture matches the graded shot below. You could use a cut point or any other matching action. To aid this match, you could set the transparency of this video layer to 50% so that you'll see both images superimposed. Once you're happy, just delete the top video track.

Going back to the Groups issue, Just read this from the Avid forums... Ok, so I figured out how to update the sequence. You need to make your changes to your group clip, then highlight the sequence that contains that group clip, rightclick and choose "Refresh Sequence > Group Edits". This then updates the sequence with your changes. HOWEVER... I've actually just noticed a very major limitation of grouping in this manner - you cannot shorten the length of a group. You can only add cameras. I just tried taking an already built sync map that I had made and removing a section from the middle. Then updated the group clip and refreshed the sequence by going to Clip > Refresh Sequence > Group Edits. I either get no change - the sequence does not update to show where the gap should be, or I get the error Exception: PMM_INSUFFICIENT_MEDIA. The manual actually states that this is a current limitation - see attached screenshot. So it looks like refreshing the sequence to update it is a no go if you make the new group shorter. You'll still have to cut the new group clip in over the top of your current sequence. If you add to the sequence then it works. This is a pretty major limitation - Avid - when will this be addressed or has it already been in a newer version? I'm working on 2018.12.7. Taken from this thread... https://community.avid.com/forums/t/198883.aspx

Not sure what OS's and versions you're on but there was a problem with certain combinations of software that wasn't putting the driver in the correct place (the AVX2_plugins folder). I believe the latest Desktop Video installer (12.4.2) has fixed the problem Have a look at this Avid forum thread for details... https://community.avid.com/forums/t/207955.aspx

Strange, I thought that was what the 'refresh group edits' was specifically designed for. Possible bug?

Don't know if you can aggregate the memory like this in Resolve to give you the 2 Gig that's mentioned in the specs. Normally, when you install Resolve it runs you through a quick setup which checks your GPU and gives a 'tick' if it meets the minimum specs. I suspect you'd be fine with ProRes or DNX media at 1080p, but RAW files might not play well. I would always go with SSD storage for both the boot drive and media drive to maximise performance.

Did you remember to refresh the main sequence? i.e. Right-click on main timeline in bin Go to 'Refresh Sequence' Click on 'Group Edits'

I've installed Resolve 16.2.7 on a Mac with Mojave (10.14.6) so I would imagine you would be able to install version 17 on Catalina. If you look at the support section of the Blackmagic site, you'll see that the minimum specs for 17.4.6 is as follows... Minimum system requirements for Mac OS macOS 10.15 Catalina 8 GB of system memory. 16 GB when using Fusion Blackmagic Design Desktop Video version 12.0 or later Integrated GPU or discrete GPU with at least 2GB of VRAM. GPU which supports Metal or OpenCL 1.2. How well it would run on a 2012 Macbook is another matter!

Hi Mario Thanks for sharing your research. Cullen Kelly covered this a few months ago in his colour management lecture at ResolveCon. Below is a YouTube link to his presentation. Go to 1hour and 5mins, where he answers a question about OOTFs.

What's the Activity Monitor saying? Does the copying slow down the transcode?

This raises the interesting question of whether Filmlight would ever release a software-only version of Baselight that could be purchased for a few thousand dollars. I'm betting it wouldn't take too much recoding to allow these features to be implemented in Baselight Look. At the moment the only 'software' versions are the Editions for Avid, Nuke etc. and these are unsurprisingly hampered by the limitations of the host software. Having worked with the Avid Editions plugin, once you get to grips with the somewhat quirky interface, it has some nice features which set it apart from Resolve.

Thanks for sharing your experience and final solution. Usually, Resolve installs without any issues, so these missing DLLs are a bit odd. Best wishes Bruno

I've never had to lock my panel to anything. I guess it's possible if another user on the network tried to grab your panel that might cause issues, but since you're on a closed loop, I don't see why you'd need to lock your panel. Once it's assigned to 'My surfaces' I've not really had any problems. I doubt if assigning a Mackie Midi port assignment (as shown in your screengrab) can be doing anything good for getting it to work in Resolve. Windows 11 could be causing some issue... Have you tried switching off Defender and the firewall? B

Hi Julien So if you've assigned a manual IP address on the panel, have you also set a manual IP on your workstation? They would need to be on the same subnet (normally 255.255.255.0) and not have identical numbers.. eg. Workstation= 192.168.0.10 Artist Color= 192.168.0.11 Don't understand the section where you mention the preferences and the Mackie protocol. On my system, when you open the Eucon software, you should see the list of available surfaces on the left column. If it hasn't already been captured, you need to assign it to 'My Surfaces' on the right-hand column. Once this is done, I find Resolve can happily see the panel. The small rectangles seems to imply that the panel is under Eucon control (as this is what I see on my panel). Once I start Resolve and the software loads, my display changes to the relevant knob descriptions etc. I'm not sure what the Mackie protocol is for (or why you're using it) since Mackie is usually associated with audio consoles. One thing you could try is to load a trial version of Media Composer and see if the software will see the panel (as it should under Eucontrol). If it does, it implies that something is wrong with the Resolve setup. I would load the classic interface version (2018.12.15) since this definitely worked with Eucontrol. Later versions may have issues since the whole Artist Color is End-of-life.

Is this the same thread I saw on LGG? I was going to contribute there, but I'm happy to comment here. You say you've tried connecting via DHCP and static IP, but did I read that you connected the Artist Color directly to your workstation with a cat 5 cable? In some cases, I know you need a crossover cable in this instance (if the network adaptors cannot swap the RX/TX lines) In my experience, you need some sort of router to use DHCP or a static IP address as your workstation won't be able to assign IP addresses to attached hardware. In situations where you do have a direct connection, the Artist Color should switch to something called 'Link-local addressing'. To quote from the Artist Color user guide... 'Normally Artist Color uses Dynamic Host Configuration Protocol (DHCP) to obtain its IP address, typically from a router. Artist Color reverts to link-local addressing to generate an IP address if a DHCP server is not found on the network, such as when an Artist Color is connected directly to a computer with an Ethernet cable. Both of these methods of obtaining IP addresses can be overridden by supplying a static IP address, which Artist Color uses in all cases when powered on.' I've never tried Link-Local Addressing, but I assume you need to be set in DHCP mode since I don't see a specific Link-Local mode on the panel. The way I read the above, when the Artist Color fails to find the DHCP server, it switches to this mode, but I'm not sure if the network adaptor in your workstation would be able to switch/work in this mode. I would recommend you connect both your panel and workstation to a proper router (home or work) and set both to DHCP. This is the way I've operated in the past and it's always worked in Media Composer and Resolve. I've also used it with the Baselight Editions plugin within MC. In this instance, you have to release the Artist Color from Eucon control (or shut down Eucontrol completely) as the Baselight plugin accesses the panel directly from it's IP address. Because Baselight stores the IP address in it's settings (and under DHCP you cannot guarantee the same IP address when you switch the panel on) I decided to go to a static IP address for the panel. I 've only tried this on WIn 10, so it's possible that there could be additional problems with WIn 11 setups. I'm pretty sure Avid haven't updated the Eucon software (in relation to the Artist Color) for a few years now, since it's officially EOL. In case this helps, I'm using Eucon software version 3.6.1 (so, not the latest version). I did hear that some later versions didn't work so well with the Artist Color. The newer versions of the software didn't add any functionality and were really designed for improving audio panels under Protools etc.

Are you monitoring the audio through HDMI or from the analogue outputs? I'd have thought the analogue OP to have the lowest latency as there would no extra decoding/de-embedding to be done. I'm assuming the delay is just from hitting 'play' (or whatever) but once it starts it's in sync?

Are these two shots meant to match? Two different locations with completely different lighting. You can see from the windows of the interior shot, the daylight is somewhat cool, so it's obvious the artist is being lit by artificial light. Music videos often have completely different lighting between locations. What was the Director's/DOP's intention?