So I'm exporting footage out of Resolve to Avid for broadcast, and doing a lot of difference tests with this.
My problem is that I always get the chroma values out of range. I am using an FSI monitor and I don't see the RGB parade being as 'hot' as it appears in the Avid scopes. And it's just not showing up that much on the Vectorscope of Resolve that well either. I'm wondering what I can do about that? Right now I am applying a broadcast safe filter right over the Avid file, but I'd like to be able to 'fix' most of this in Resolve rather than clip so much in Avid.
Is this because I don't have an Ultrascope (or other outboard scope)?? I need to be able to better monitor and control this in Resolve when I'm the one sending to broadcast as opposed to flame. Right now I don't feel like I have that kind of control.
Also, I've experimented with many different workflows. Really surprised to find no difference between working in file Data levels to output Auto (or Legally Scaled) as opposed to file Video levels to output Auto (or Legally scaled). This is based on AMAing the clips into Avid.
You should never use AMA to import material to Avid!
If you do, you have a graphic/video-level source editor in the bin.
Since Avid works in video levels internally, you need to set the monitor options in Resolve to normal and export MXF directly to the AvidMediaFiles/MXF/1,2,3 etc - folder.
The white and black levels will match up perfectly between 16-235.
Do NOT apply a broadcast safe, as it does not remap but clip your levels and chroma.
This would even happen with AMA then import, then check that imported clip?
It's the RGB chroma values I'm looking at.
What workflow would you recommend? Auto on clip import in Resolve, then export at 'scaled legal video'? Or Video on clip import in Resolve?
Yes, the broadcast safe filter does clip. This is a good thing in case there's an errant pixel that Resolve might have missed, correct? The problem is that I'm seeing too much remapping of the RGB values (in this particular case it was too much green color in the low values).
I find it very difficult to export out-of-gamut values from Resolve.
Because I do send a lot of material back and forth between FCP, Resolve, and Symphony, the RGB conflicts are a little more familiar. Almost 100% of the time, the values jump because the full-scale RGB and linear video 709 scaling gets confused. Particularly hateful when a VFX house exports things in Animation.mov or ProRes4444 because its "better"... and what gets screwed up is the image values get very distorted, and not in a linear way (gamma is not correctly computed). This is also why your broadcast legal solution is not the correct choice as a fix.
"I always pass on free advice -- its never of any use to me" Oscar Wilde.
Are you saying that once grading is done in resolve then exporting a pro res master file and AMA into avid is incorrect?
I do this everyday and deliver to networks and never had issues and had compared my pictures from MXF and Quicktimes and they are identical.
AMA is resource hungry and drive speed dependent, and will not work properly for some.
MXF is way faster and the most reliable way of dealing with material in Avid, and is trusted in most professional facilities,
I recommend that you only use AMA to select clips, and transcode/cosolidate to MXF.
If you wouldn't mind, it would be great if you could answer the questions I had mentioned before? I'd really love to hear what you could suggest as the best course of action for import through export in Resolve, and then try it on my own.