In chile we have had some issues with clients that what they saw on their monitors aren't what they have on our color suite, so i decide to make some test and share with community.
We allways grade on FullData range and deliver equal, but surprise the final cut monitoring and be aware some render workflow do legal range so obiusly not the same as graded.
Not all the online suites here in chile have Smoke or big online systems, so final cut is the final step and thats why becarefull.
Test do in scope box and with monitor oscilloscopes on Blackmagic 3d+ SDI output
Just to clarify when you say you are grading in Resolve "on FullData" range - are you referring to having your SDI output set to full range (instead of scaled to legal 64-940) or are your referring to working with full range media?
There is a lot posted on this forum regarding the pitfalls of doing final color grading in an environment that is set to full range monitoring when most final deliverables will be seen in a scaled environment.
Really it comes down confirming if you have a deliverable that is to be shown in a full range environment. Most of our content winds up with a final destination that is scaled legal 64-940 so we keep monitoring to scaled to legal for color grading this work.
You are setting yourself up from trouble if you grade to full range for say a commercial that will be seen scaled to legal. You grade to full range and then switch back to scaled to legal and everything will be flatter.
It's not a Final Cut Pro problem per se as you can switch a BM or AJA card to full or legal range. This is the same with a Smoke, Quantel, etc...
So the question really is should this project be graded in full range.