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Blacks way too lifted after exporting color corrected footage to DCP (cineasset)

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Pedro Saboya Burgos
Blacks way too lifted after exporting color corrected footage to DCP (cineasset)
on Sep 12, 2014 at 10:57:29 pm
Last Edited By Pedro Saboya Burgos on Sep 12, 2014 at 10:59:16 pm

Hi,

For the first time I'm having issues with an DCP. I wasn't sure where to post it, but I think it could be related to Resolve:

I've received a DaVinci Resolve project (another colorist had already started grading) + footage. Connected everything, made some changes in the grades and exported it to Final Cut Pro 7 in ProRes422 (same as the source footage).

In FCP, added charts, artwork, credits and exported a ProRes 422 master. It was sent to DoReMi's CineAsset for creating a DCP. Worked out well during the process.

BUT when we went to see it on the screen, the black were WAY too lifted. As if the pedestal were at 40 IRE instead of 0. The white levels seemed OK, the color seemed OK.

I've tried some other options since then and the only that seemed to work (I couldn't test it properly on the screen) was with DPX 16b image sequence. But it was only a test with 40s of the footage… when I try importing the whole movie in DPX, Cineasset crashes.

Anyone knows what I'm doing wrong? I'm really a newbie in DCP-making.

Sorry for the big post!

PS:
I'm monitoring using A Sony PVM-2541, BlackMagic Ultrascope and DeckLink 4K Extreme. Of course, black levels are OK in my monitoring.

Pedro Saboya Burgos
Colorist


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Margus Voll
Re: Blacks way too lifted after exporting color corrected footage to DCP (cineasset)
on Sep 13, 2014 at 8:38:52 am

Data level or video levels ?

In theory you could assemble your timeline with charts and stuff in reslove also?

I tend to do it for mastering a movie.

--

Margus

http://iconstudios.eu
https://vimeo.com/iconstudioseu/videos

DaVinci 10, OSX 10.8.5
MacPro 5.1 2x2,93 24GB
GUI 4000 / GPU GTX 780
DL 4K
Eizo Color
Scope Box
Full Ligthspace CMS


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Pedro Saboya Burgos
Re: Blacks way too lifted after exporting color corrected footage to DCP (cineasset)
on Sep 13, 2014 at 2:33:58 pm

Hi, Margus

I'm exporting from Resolve in Auto, but tested it in video levels. I've read in Resolve's manual that I should use Data Levels only when working with RAW footage, or did I get it wrong? I guess Data Levels would, indeed, bring the pedestal down...

I would assemble the film on Resolve, but I had some issues with compositing on this project... the editor added layers that didn't read well on Resolve...

Thanks!

Pedro Saboya Burgos
Colorist


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Margus Voll
Re: Blacks way too lifted after exporting color corrected footage to DCP (cineasset)
on Sep 13, 2014 at 6:55:15 pm

If you are monitoring in rec709 then you should use video levels.

DCP conversion process will convert the colour space as needed.

Try this.

--

Margus

http://iconstudios.eu
https://vimeo.com/iconstudioseu/videos

DaVinci 10, OSX 10.8.5
MacPro 5.1 2x2,93 24GB
GUI 4000 / GPU GTX 780
DL 4K
Eizo Color
Scope Box
Full Ligthspace CMS


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Pedro Saboya Burgos
Re: Blacks way too lifted after exporting color corrected footage to DCP (cineasset)
on Sep 13, 2014 at 11:47:03 pm

Yes, I am monitoring in REC 709... the issue appears when I make the DCP. I thought it might have something to do with Resolve because only the filmed footage has the lifted blacks. Artwork and credits have proper black levels...

I tried making the DCP from Video-leveled ProRes422, ProRes4444, Uncompressed 422, DPX sequence 16b... tried exporting it directly from resolve, bypassing FCP... Also tried, just for the sake of it, Data-Leveled ProRes4444. Same results.

The only sample that seemed better and might be the way to go (I say "seemed" because I don't have proper DCP monitoring and have to rent a place with a projector) is the DPX Sequence.

But when I try importing the whole project in DPX sequence, CineAsset crashes after hours... very, very frustrating.

Pedro Saboya Burgos
Colorist


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Juan Salvo
Re: Blacks way too lifted after exporting color corrected footage to DCP (cineasset)
on Sep 14, 2014 at 12:57:34 am

You meantioned your monitoring on the Sony OLED. If you've enabled "flicker free" mode this will crush the bottom 5% or so. Might account for the difference you're seeing. I'd take a look at your signal on an external scopes. Make sure the levels aren't in fact lifted in your picture.

http://JuanSalvo.com
http://theColourSpace.com


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Pedro Saboya Burgos
Re: Blacks way too lifted after exporting color corrected footage to DCP (cineasset)
on Sep 14, 2014 at 3:46:06 am

Hi, Juan

I'm aware of the flicker free issue on the PVM, I'm using BlackMagic Ultrascope to monitor my signal right out of the Decklink. The signal is fine in Resolve and after I export my master from Final Cut Pro...

Also, the lift is way more than 5%... I'd say it's about 30% or 40%.

I've graded a few movies, full features and shorts, and also loads of TV shows using this same set throughout this year... it's the first time I'm having this issue.

If you have any other guesses let me know! I'm running out of options here

Thanks!

Pedro Saboya Burgos
Colorist


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Marc Wielage
Re: Blacks way too lifted after exporting color corrected footage to DCP (cineasset)
on Sep 14, 2014 at 4:18:21 am

Run some test signals with bars and a grayscale ramp and see what a 1 minute test looks like. This should help you pinpoint where the flaw is in the workflow.


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Margus Voll
Re: Blacks way too lifted after exporting color corrected footage to DCP (cineasset)
on Sep 14, 2014 at 6:55:55 am
Last Edited By Margus Voll on Sep 14, 2014 at 6:56:34 am

It seems that maybe your prores is making bad things maybe and dpx acts better ?

Testing like Marc pointed seems good as you can see exactly what is happening on scopes.

Also screen shot from scopes before and after would help.

--

Margus

http://iconstudios.eu
https://vimeo.com/iconstudioseu/videos

DaVinci 10, OSX 10.8.5
MacPro 5.1 2x2,93 24GB
GUI 4000 / GPU GTX 780
DL 4K
Eizo Color
Scope Box
Full Ligthspace CMS


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tom douce
Re: Blacks way too lifted after exporting color corrected footage to DCP (cineasset)
on Oct 14, 2014 at 2:17:18 pm

Hello,

Which version of CineAsset do you use? 5.2.11?


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Anton Petersen
Re: Blacks way too lifted after exporting color corrected footage to DCP (cineasset)
on Nov 19, 2014 at 7:50:33 pm

Hi Pedro,

Did you manage to resolve the issue?
I'm having the same problem. The color-correction has also been done in Resolve, re-imported to premiere and I've exported in various codecs like dpx, TIFF, prores - same problem still occuring after the dpx has been made.

Need to solve the issue tonight so if there is anyone who has a solution please let me know as soon as possible.


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tom douce
Re: Blacks way too lifted after exporting color corrected footage to DCP (cineasset)
on Nov 20, 2014 at 8:17:46 am

Hello Anton,

Which version of CineAsset do you use?


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Pedro Saboya Burgos
Re: Blacks way too lifted after exporting color corrected footage to DCP (cineasset)
on Nov 20, 2014 at 2:15:48 pm

Hi, Anton!

After you export the .dpx, .tiff or whatever format, if you reimport it in Resolve, the blacks are already lifted? If so, your issue is different then mine... It's all OK with my .dpx, it seems so at least... the issue happens when I create the DCP, though it might be because of something way before on the workflow.

After that, I've made several tests, even bypassing all the workflow with original camera material and new color grading. Same results.

Also I've made several other DCPs using the same workflow with great results in other projects since then...

Sorry I have nothing more helpfull!

Pedro Saboya Burgos
Colorist


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Anton Petersen
Re: Blacks way too lifted after exporting color corrected footage to DCP (cineasset)
on Nov 22, 2014 at 4:51:39 pm

No, my dpx looks fine as well. Only after the dcp is made I can see that the color is very desaturated and the black are lifted. When you say you passed the entire workflow with original camera footage, do you mean you still colorgraded in Resolve? It more or less narrows it down to it has to be something with Resolve or the format/codec used when shooting. My material was shot with red-one 4k, REDcode 9:1 (Redcode 36). The colorspace used in Resolve was yRGB.


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