Frank Wylie

Thanks, Thomas. How do you manage the gallery and screen grabs? Do you place them in the custom folders for each job? Seems like they could choke up a HDD very quickly if you use them a lot.

(advance apologies, this has been cross-posted to several other DaVinci related boards) Anyone know of a good reference for "cleaning" or properly deleting projects and associated files from a DaVinci Resolve Workstation when storage becomes a problem? Of course, you could just reformat everything and re-install, but... There is scant little in the manual about this aspect of maintaining a busy workstation with less than unlimited storage capacity (networked or otherwise). What are your methods and/or tips? How often do you dump the system and reload everything from the OS up?

Tom, Also, if you are not using a control surface, be aware of this potential problem: https://mixinglight.com/portfolio/work-around-mouse-math-bug-davinci-resolve/ It was addressed in 12.5.3 release, but I always add a new serial node anyway when working with independent RGB curves in a grade to avoid any weirdness... Frank

Dale, Wonderful article! I am nowhere in your league, but I guess I am a modified screen timer, as I make corrections on a Steenbeck and use my fingers to simulate printer points of density to add on trial prints (only B&W). It usually only takes one print, but really tricky jobs can take two and even three prints, but B&W prints are not as expensive as color! I find that if I time to lock in the highlights and mid tones, I can selectively "back fill" the shadows with a few points here and there, depending on how the print reacts to the negative. Nitrate and Safety react differently to points density added; it can bite you if you get too complacent... We have a comparator but it is hardly ever used. Frank

Mitch, Great information, but I need a bit of clarification! You have a LUT for your camera original footage (whatever log to lin flavor) and an (Image Transform/LUT) for your grading projector (Lin->P3) and a Cineon LUT for filmout. Where does the Cineon LUT reside? Do you actually run the P3 colorspace adjusted image THRU the Cineon LUT to the film recorder, or do you run it in parallel and take the Linear data prior to the P3 Image transform (which should just be a color space adjustment for the projector)? Could you do both to grade theatrical and home video releases at once? Cam orig --> Log to Lin LUT --> Filmstock Emulation LUT --> P3 IT/LUT -- Cineon LUT --> film recorder or Cam orig --> Log to Lin LUT --> Filmstock Emulation LUT --> P3 IT/LUT ^ --> Cineon LUT -- film recorder Also, could you speak a bit about the film recorder calibration process? How do you calibrate the recorder to the grading system? LAD values? Thanks! Frank

Mitch, Great information, but I need a bit of clarification! You have a LUT for your camera original footage (whatever log to lin flavor) and an (Image Transform/LUT) for your grading projector (Lin->P3) and a Cineon LUT for filmout. Where does the Cineon LUT reside? Do you actually run the P3 colorspace adjusted image THRU the Cineon LUT to the film recorder, or do you run it in parallel and take the Linear data prior to the P3 Image transform (which should just be a color space adjustment for the projector)? Could you do both to grade theatrical and home video releases at once? Cam orig --> Log to Lin LUT --> Filmstock Emulation LUT --> P3 IT/LUT -- Cineon LUT --> film recorder or Cam orig --> Log to Lin LUT --> Filmstock Emulation LUT --> P3 IT/LUT ^ --> Cineon LUT -- film recorder Also, could you speak a bit about the film recorder calibration process? How do you calibrate the recorder to the grading system? LAD values? Thanks! Frank