Re: Normal / Full Range

Hi again, and thanks for all the inputs!

After a week of testing, I have delivered a couple of TV-commercials with the following worklow:


AVID:


Edit Dnx36 as usual + EDL


RESOLVE:


Relink to original Alexa / r3d-footage
Normal scaled monitoring
Render normal range (remap from full range to normal range)
Note: Davinci always work full range intern.


AVID (for client viewing purposes)


Regular MXF dump
Intern scopes show legal values (16-235)

Note: Avid Mojo DX cant monitor full range and my monitor is also set for legal values.
Export RGB that remappes the file to 0-255.


ADSTREAM / ADTOOX encoder for file delivery:


The encoder will remap full-scale RGB to scaled YCbCr
(16-235) and it will be good to go for TV.

I also downloaded the delivered file that was remapped to 16-235.

I questioned the "RGB-look" on this file when viewed on my computer screen in any software. I wondered why it didnt look like a normal ranged file - like the one you are "used to see" when exporting 709 from Avid.

The reason is that the player remaps the 16-235 values (stored in the file and never seen) to 0-255 (what you see in the player) by default when played out on a computer.
In other words, 16-235 is stored in the file and 0-255 is seen on the computer monitor when you play the file. A computer monitor usually assumes 0-255 (if not calibrated in another way). Remapping is done in real-time when you play the file.

On TV, the opposite thing happens: A TV-set assumes 16-235, which is stored in the m2v file and is broadcasted as well.


I guess this remapping issue would not be a problem if the final adjustments were made in Flame. Then I could probably render a full range DPX from Resolve to Flame and remap the signal to legal values on the monitor output.
The problem for me was that I wanted the file to be screened from Avid before delivered to Flame or for broadcast.

This works for me now, but If some of you have suggestions that will improve the workflow, I will be very happy to listen.


Stig