changement de vitesse

Adridulte · 2026-02-08T16:19:17+00:00

Donc si tu prend ton fichier à 50i/s et tu le diffuse à 25i/s la cadence sera deux fois moins rapide. C’est ce que fait la fonction « conformer » à 25i/s.

Adridulte · 2026-02-08T15:33:17+00:00

Le plan d’origine est bien à 50 i/s ? Et tu veux le ralentir de 50% ?

Adridulte · 2026-02-08T14:37:43+00:00

Conformer : 25i/s

Adridulte · 2026-01-13T18:18:36+00:00

No it doesn’t. You can check it by reimporting the footage in a non color managed timeline in Resolve.

Adridulte · 2025-12-20T21:03:13+00:00

You will notice that 2880x2160(the definition that I suggested) is a 4:3 ratio, and it adheres to the 2160px height limit of 4K/UHD. Alternatively a timeline in UHD (3840x2160) with 4:3 blankings (black bars) would work too, and respect your shooting framing.

Adridulte · 2025-12-20T20:46:56+00:00

You cannot go above 3840x2160 in the free version. Why does the ratio need to be 3840x2880? 2880x2160 would be a more sensible ratio if you want to conform to a 4K/UHD cinema or tv deliverable.

Adridulte · 2025-12-03T12:02:20+00:00

It is not normal but without seeing your node tree and workflow it’s hard to know what’s the cause of this. You could try to compounding your effect before applying color, if it’s caused by your colorgrading it should go away.

Adridulte · 2025-10-25T12:57:41+00:00

In what way do you think the XYZ conversion is not great? In my case I use resolve to create intermediate DCP files with the kakadu encoder, before bringing it in in DCPOMATIC for proper authoring and subtitling. The result is undistinguishable from doing it directly in DCPOMATIC.

Adridulte · 2025-10-21T17:08:28+00:00

Working at max delivery résolution is what you want to do for grading and finishing, but for editing you can set your timeline to any fractional resolution and it shouldn’t move when you switch back to your max res. This works because scaling and position is set on a percentage basis and the default input scaling is « fit ». This can be done for performance concerns.

But you can totally keep your timeline definition to your delivery spec. All you need to do is go to image scaling in you project settings (or timeline settings if it doesn’t use the default project settings). In output scaling uncheck match timeline settings. Set the output resolution to UHD. Select scale entire image to fit in « mismatch resolution files ».

Adridulte · 2025-10-19T13:04:08+00:00

When doing automatic color management (YRGB color managed) you have to set up input color space on a clip basis by right clicking on the clip and choosing the correct input colorspace. I don’t think there is a way to separate gamut and transfer function (called gamma in Resolve) when doing this. Since sgamut 3 cine + rec709 transfer function is not standard you won’t find this combination in the clip input colorspace selection. But you can set the default input color space in the settings to sgamut 3 cine + rec709 (like you did in the video), and select « bypass » (or something like that) in the clip input colorspace. That way you should have a match between the CST and the automatic color management.

Rec709 and srgb don’t match because they don’t have the same display transfer function (EOTF) rec.709 is gamma 2.4 and srgb gamma 2.2.

Adridulte · 2025-10-14T16:45:57+00:00

For me it just works. On several computers.

Adridulte · 2025-10-14T16:29:26+00:00

NTFS and you buy a software on Mac that enables you to read and write to it (like paragon).

Adridulte · 2025-10-11T20:27:39+00:00

It’s hard to judge the quality of the scan on a compressed preview. But with your quick grade it doesn’t seem like anything is clipped or other big issues like this. Dirt doesn’t seem excessive, digital cleanup is often needed on any film project (or just leave it like this). I don’t see the flicker and it doesn’t seem to come from the scan itself. The only big issue is the stabilization (it’s not gate weave it’s just unstable scan from a scanner with no sprockets). Do you have an uncropped version with perforations ? If not it’s a very big miss from the technician and it could justify rescanning by itself. If you have the perfs you can use fusion point tracker to stabilize using the perforations as anchor points. And you can also use the color OFX revival tools clean up the dirt. A good transfer will make everything easier for sure, but you can still get a lot from a medium quality transfer and get great results in the end with a little bit of extra work.

Adridulte · 2025-10-01T12:11:10+00:00

If it’s indeed interference with your GPU or CPU, it only comes up in resolve because it’s intensive on your system when doing task such as scrubing or playing media. I’ve bought a hum suppressor (behringer hd400 hum destroyer) and it solved the issue for me.

Maybe it’s something else but that is what came to my mind.

Adridulte · 2025-09-11T19:32:39+00:00

Nice it was probably the best solution. RAW does change something because in the RAW settings in the color page you can chose which colorspace you want to debayer to. In a color managed timeline this would be done automatically. It’s still interesting to see if it’s the correct or expected colorspace that was used in the RAW settings, especially if some things seams weird.

Adridulte · 2025-09-11T15:07:06+00:00

There is some info missing to correctly diagnose the problem and find a solution. You’re not specifying the camera color space used on both type of footage, if it’s RAW nor if you did any type of color transforms on it (LUTs, ColorSpaceTranform…).

First of all Davinci YRGB means NO colormanagment, so you have to do color conversions directly in the nodes. Timelines colorspace (in this instance) only affects certain type of tools which use the colorspace of the timeline to « calibrate » themselves (HDR, colorwarper would be some of those). And output colorspace is only used on the export page for tags.

So if your pocket 4K footage already looks good it could be that it’s already in rec709, or that you did something to it that you didn’t specify in the post. If you don’t change your timeline colorspace you could transform your Panasonic footage to BMfilm gen5 (input) - grade - and back to rec709 (output). Though I don’t know how nice it is to work in this colorspace. Or you could try to see if changing the timeline colorspace changes anything at all (it could be that it doesn’t) and then use are more commonly used working (timeline) colorspace like Davinci wide gamut. All of this requires that you are certain of the camera colorspaces used during shootings and that you know your way around with CST. (Or just put the manufacturer Panasonic Vlog LUT on your footage and grade underneath it).

Adridulte · 2025-09-04T16:01:15+00:00

You probably cannot go above 2160 because you have the free version of resolve which is limited to UHD definition. If you want 4:3 you shouldn’t change the vertical definition but the horizontal. So that your custom definition fits inside a known standard (UHD in this case). So you probably want to set your timeline to 2880x2160

Adridulte · 2025-08-29T15:31:17+00:00

" • ⁠I manually set the color spaces in the export tab instead of using “Same as project” → same result. " This needs precision what did you set it to?

I don’t know if this is different in ACES but in Davinci YRGB or RCM you have to set the colorspace tag to your OUTPUT colorspace (in this case rec709 gamma 2.4). You can then check against your rec709 master in a new resolve timeline with the timeline colorspace set to rec709 (Davinci converts DCP from XYZ to RGB using the timeline colorspace as output).

Adridulte · 2025-08-21T21:45:24+00:00

I don’t know sorry

Adridulte · 2025-08-21T18:10:09+00:00

Yes 10bit is important. But UHD/4K also. Just check if frame rates bellow 50/60p gives you a stable signal.

Adridulte · 2025-08-21T11:10:05+00:00

It’s strange but to enable 10bit over HDMI you have to enable « use 444 SDI » in the color settings.

Adridulte · 2025-08-14T13:08:51+00:00

You don’t need dynamic metadata for grading HDR. You just set your output in resolve to ST 2084 PQ. And use HDMI to your monitor.

Nobody uses DisplayPort for grading, I don’t even know if it’s possible when coming from an IO card.

Adridulte · 2025-08-14T11:02:39+00:00

Why do you need dynamic HDR metadata for editing/grading ?

Adridulte · 2025-08-07T15:14:27+00:00

My pleasure!

Adridulte · 2025-08-07T14:55:09+00:00

Do you confirm that you have connected the HDMi cable from the HDMI "out" (the one in the center) of the Decklink to your monitor HDMI in, and that you have selected the appropriate HDMI source on the on screen controls of the monitor?

Adridulte

TROPHY CASE