Rogério Moraes

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About Rogério Moraes

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  • Birthday September 17

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  1. Hi Im working on a facility with a Christhie DCI Projector, well calibrated, and I need to "manage" often two masters (either for streaming, TV, rec709 to be short) and DCI-P3 color space for DIgital cinema projection, My project consists of one camera only (Alexa) so I choose the right IDT for that and the ODT for the P3-DCI for the project on the right "channel" at the Chrisite. But when I output to the rec 709 ( projector set to deliver rec709 at gamma 2.2 ) the colors look much different (yes, I do change my ODT for rec709 at this time). The difference im seeing is the lack of gamm
  2. If you're not using de RCM on DaVinci, the timeline has little to no effect on your image. But I do recommend that if youre mastering on a rec709 gamma2.4 monittor, keep the timeline that way. The output file will carry this metadata. The output file is a problem, since you should convert the DNxHD to a proress. The h264 not only compress to much your imagem and also can generate color shifts. With the media encoder you should not have this problem. Also, try the Premieire. but be aware that Premiere may incorrectly read the tag metadata. Just be sure that what you see in preciere reflects wha
  3. Hello I'm not familiar with theses tabs. Are you using Resolve 17? The color management scheme has changed? On 16, I 'm used to bypassing the input color space. At the timeline level I use the "biggest" color space on my deliveries (in this case, P3-DCI, since I have P3-DCI monitoring capabilities...if you don't, you should always use your output for color grading according to your monitor). Doing so, im able to output TIFF X'Y'Z' 16 bit for DCDM ( the Digital Cinema master) or an already compressed j2k file (X'Y'Z' color model), by outputting the color space to P3-DCI. T
  4. Actually Davinci Resolve exports (if auto range is seleceted) proress files (444 included) as legal range. If you force auto, in my experience, some softwares (and even DaVinci tend to interpret it wrongly). Also the new 'metadata tag" on the proress files is misleading.
  5. HI. Would like to know if you didi the pull off to the VFX (exported the shots to VFX work) from DaVinci. If so, did you exported already in Proress? And also if you're using some form of color management (RCM or ACES). TO explain.: I didi a job shot on ARRI (proress 4444XQ) where we had to do a collect converting the "raw" midia to also proress 4444, but already trimmed down to the cut for me to work on the color. The VFX, in paralallel, worked on the proress from camera exported while I worked on the "converted" midia. The converted midia was exported to me without any color managemen
  6. Hi I'm a bit disapointed that the mini panel doesn have a dedicated start/ mark dynamic/ static button. is ther a workaround on this, The " user" button on the surface is usede for something programmable? tnx