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Is Resolve interpreting ProRes4444 from Premiere correctly?

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Stanya Kahn
Is Resolve interpreting ProRes4444 from Premiere correctly?
on Dec 2, 2019 at 4:34:42 am

After tons of reading and a millions tests, I still need help with this workflow:
Nutshell: First time working with ProRes 4444 (usually work with 422) and new to Resolve. Working on 2019 iMacPro, monitor set to Rec 709. Shot super 16mm, scanned to ProRes 4444 (have DPX backups). Edited ProRes 4444 in Premiere. Sent XML to Resolve 16 Studio. Graded in Resolve. Sent XML back out to Premiere to re-connect to sound and do some credits, etc. Exported ProRes 4444 Master out from there. Looks washed out in Quicktime (ProRes and H264), better in VLC, bad on Vimeo in Chrome and Safari, ok on Firefox (who uses that? no one.)
Read all about limited color interpretation in QT, Chrome, Safari, etc. Tried a LUT. Ok in QT, terrible on Vimeo etc.
Started tracing the problem back. Tried exporting XML again from Resolve, this time selecting "Full" for Data Levels instead of leaving on Auto (after reading all about Pro Res 4444 RGB being full (0-255 instead of video 16-235). Some online said NO leave on AUTO! Some say MUST set to FULL for ProRes4444.
Result: In Premiere, blacks are blacker, looks more saturated/more contrast, less washed out but now some scenes are too intense. Would have to re-grade some. Looks better in QT but still a little washed out (probably the separate issue w/QT).

Questions: 1) Does Resolve properly iterpret the ProRes 4444 on INTAKE? It seems like it's not, if I only see the full spectrum of lights and darks after export. (what I'm seeing on the monitor should be what I see after export? Is there something I should set for it to do so? Ask it to interpret footage? 2) Is setting Data Level to Full the wrong thing to do? If so, what do I do?
I have spent so many days wading through articles and posts trying to figure this out.
Thanks very much.
PS I have not made color bars and tested scopes. I'm not I know how to do it correctly. But I suppose I should figure that out and try.

Thank you!


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Glenn Sakatch
Re: Is Resolve interpreting ProRes4444 from Premiere correctly?
on Dec 2, 2019 at 7:51:03 pm

Have you added bars to any of your outputs?

Put bars on the outputs at each stage and it will help you figure out where yor colour is slipping.

Glenn


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Stanya Kahn
Re: Is Resolve interpreting ProRes4444 from Premiere correctly?
on Dec 2, 2019 at 7:54:35 pm

Thank you I have not. Will try that next.


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Stanya Kahn
Re: Is Resolve interpreting ProRes4444 from Premiere correctly?
on Dec 2, 2019 at 9:00:01 pm

PS maybe these are better questions:
Can someone advise on Project Settings for ProRes 4444 in Resolve?
questions:
1) My project is 2048 x 1240, 24fps, 2K. For Video Monitoring, there is no preset for this. Select HD 1080 24? Or UHD? Or 2K 1080? Wonder why there's no 2048...
2) Select "use 4:4:4 SDI" ?
3) Should the data levels for 4444 be set to video or full in the project settings?
4) Color Science is set to DaVinci YRGB. correct? Rec. 709 Gamma 2.4 (my monitor and Premiere set to same)
5) Broadcast Safe: which setting?? -2-120? or 0-100?
Thanks


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Marc Wielage
Re: Is Resolve interpreting ProRes4444 from Premiere correctly?
on Dec 3, 2019 at 4:26:20 am

[Stanya Kahn] "My project is 2048 x 1240, 24fps, 2K."
That is a very unusual format. Where do you plan on showing this? As far as I know, no theater, broadcast, cable, or streaming channel can handle this kind of resolution. You can force it to this resolution using the "Custom" settings. Video or Full depends on how you intend to monitor and deliver it; in general, I'd say keep it simple and stay in Video, DaVinci YRGB, Rec709.

When people do 2.00:1 aspect ratios, they generally just letterbox it in a 1.78 (or 1.85) frame, which is often done for HD and UHD television these days. There might be a handful of online services that can display true 2.00:1 as a self-contained video (without letterbox), but I don't know of a lot of them. There was a time when I'd argue against the format, but a ton of contemporary TV series use it (like STRANGER THINGS, among others), so clearly it's a creative trend people like. Vittorio Storaro finally got his wish: he'd been campaigning for this aspect ratio for at least 25 years.

I would avoid Broadcast Safe and worry about that on the final pass, and just keep an eye out for overshoots and gamut issues using the scopes provided. Soft Clips and Gamut Mapping can help with this, but I only use it on the shots that really need it. Time and experience will help you spot these problems before they happen.


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Stanya Kahn
Re: Is Resolve interpreting ProRes4444 from Premiere correctly?
on Dec 3, 2019 at 4:57:55 am

Thanks very much for your reply. Very helpful. Yes, it's an odd aspect ratio. I shot on super 16mm, which is not a true 16:9, so the 2K scans are an odd size. I'm going to have letter bars online unless I'm willing to sacrifice part of the frame and uprez. Which I'm not, so online it will have bars on the sides. But mainly the film will be projected, in which case it works out fine.

My biggest problems now (i see from many threads I'm not alone), is the maddening Chrome/Safari/Quicktime color metadata problems on new Macs and after Resolve 16.1. Everything look washed out. I was hoping that maybe it was a 4444 issue in Resolve and that I'd set something wrong. But I guess not (my project settings were Rec 709, video, Davinci YRGB. The whole thing has been graded and sent back to Premiere for final credits etc and when I exported the master and the clips for Vimeo, I discovered the wash-out issue. Have read a million posts. Tried the LUT for QT. It helps for QT but looks terrible on Vimeo (crushed blacks, pixelated). Since most people use Chrome and Safari and not Firefox (where it looks ok because Firefox doesn't add metadata) and use Quicktime and not VLC (which also doesn't add metadata, so looks ok) I can only come to the conclusion that I have to make a separate version with a darker grade for these platforms. Is that what everyone is doing? It's so crazy to have to do all this extra work to use the most commonly used platforms. Argh.


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Tero Ahlfors
Re: Is Resolve interpreting ProRes4444 from Premiere correctly?
on Dec 3, 2019 at 7:17:08 am

[Stanya Kahn] "Is that what everyone is doing?"

Hell no. That would be like 30 or so versions for different OS/browser/service combinations and then the problem would be to get the user to actually watch the correct version.

You cannot control how your work is being looked at.


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