Rogério Moraes

At work, we have a station with the mni panel and one with the tangent elements (full panels). The tangent offers no suport for the new toll (HDR color), or RGB mixes.... but i still prefer working on it for one simple reason: the mini does ntot have a dedicated button to mark static or dynamic dissolves. I use it a lot, and its a pain to have a nice panel like the mini and go for the keyboard for a simple shortcut like this. It's very frustrating that BM does not offer a solution to map this keys on the panel. Sure, on the mini you have control over RGB mixer, the new HDR panel., curves....... but lacking a button for a simple (yet indispensable) short cut like this? Both are very smooth and nice to use.... mini is is still a couple of bucks cheaper... If asked to choose fast, I would go for the Elements.

Thanks Evan, but it looks like you either need a tablet or a separate piece of hardware. I meant the user button on the mini panel itself. Is there a wat rto customize it? thanks anyone

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 gammut between the DCI and the rec? it seems to drastic to me. Any advie or thoughts? p.s.: dont like ACEScc... still I can bring much mor infromation on blacks if manually wornking on th elog file... but this is another topic) p,s,2: The difference is the same if I choose the RCM on Resolve, when I use the input to camera, time line to camera color workspace and output to the right color space. The differece doesn't exist if I bypass the input camera, put the timeline to P3 (the biggest gammut) and change the output to desired color space. Then I see no diference.

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 what you see on Resolve.

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. This will be the "master output" to DCP. When delivering for streaming or broadcast , the most comum output will be rec709 (gamma 2.2 or 2.4). You will have two "masters". One for D-Cinema and other for web/ TV/ streaming. Don't know why you are having real playblack capabilities. I'm about to do a post on double deliveries like you ask... but with different problems.

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.

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 management, using only the " tag" from the timeiline colorspace while vfx exported to me DPX files (wich dont carry this metadata tag). What we've learned is that (when working with RCM) davici does interpret this tag on the proress files. So, the converted midia was expoted to me with a tag as rec709, and the DPX had no such thing. And problems like you mention arose. My color did not match the VFX files because of this; Davinci was " interpreting": the footage based on the metadata tag on the proress, and we had to come with a workaround applying a LUT file to covert the DPX from VFX from rec709 to P3 (my main mastering colorspace). I know this workflow is the opposite of what you have, but to pay attention that when Resolve exports proress files, it "really" interprets the tag on the proress . So there is kind of " colorspace conversion" when you do this, (exporting proress from DaVinci) when, i my opinion, there should be none. If the tag is difernt from the colorspace of the file you're working,, you will have mismatch problems. Maybe the VFX file is tagged in this manner. But this only applies when you use some sort of Color Management. If you only use de " DaVinci YRGB colorspace, you should not have this problem. Hope i was clear enough....

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