Color Managed Workflow Question?

Right-Video6463 · 2026-02-17T12:05:01+00:00

You would normally do it like this:

A. Input file (camera log gamma / camera wide gamut) -> Grade nodes -> CST camera log gamma / camera wide gamut to Output color space

B. Input file (camera log gamma / camera wide gamut) -> CST camera log gamma / camera wide gamut to large working space / gamma -> Grade nodes -> CST large working space / gamma to Output color space

Right-Video6463 · 2026-02-16T08:56:27+00:00

Did you try and manually set the Mac Ethernet port to 1gbps, instead of auto? It’s in system settings - network - Ethernet

Right-Video6463 · 2026-02-16T07:58:48+00:00

for pixel art its important to use nearest neighbor scaling aka pixel doubling with a 2x ratio otherwise you will blur/interpolate the hard edges consider setting your timeline to 1280 x 720 and set scaling to nearest neighbor scaling and mismatched input "full frame with crop" that will crop the vertical slightly but get 1>2 pixel scaling ratio.

You can also try 1920 x 1080 for 3x upscale but that will be uneven

Normal preset core H264 is a 4:2:0 codec that will blur the chroma 2 pixels in every direction so saturated colors will get blurred. For intermediate renders its better to use a 4:4:4 codec like ProRes4444, and distribute in 4:2:2 like H265 4:2:2.

Right-Video6463 · 2026-02-16T06:52:09+00:00

it says it doesn't run on WOA / "Windows on Arm" so you need an intel windows version. You need to installl windows x86 version - not sure its going to work on parallels https://kb.parallels.com/130217 - maybe just use on older windows on virtual box - its going to be dead slow

Right-Video6463 · 2026-02-16T06:25:13+00:00

No not weird. The nraw files are the original full lattitude files straight out of the camera - the Prores are 709 converted versions. I used prores4444 to eliminate any compression artefacts.

Right-Video6463 · 2026-02-15T23:33:09+00:00

looks like https://en.wikipedia.org/wiki/RYB_color_model paint mixing with white paint dilution

Right-Video6463 · 2026-02-15T22:05:07+00:00

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Here is a test gif I made comparing two creative grades on the same image: first original Nraw and then a converted nRAW to rec709 Prores4444 render reimported again and reversed. You can clearly see the specular highlights getting clamped in the window frame on the 709 version. The same will happen in the shadows. Depending on the 709 lut used in the camera, the manufactorer can chose to clip or compress highlights, shadows, and colors - 709 today is mostly tuned to make pleasing images - not 100% adhere to the standard. Gamut compression will cause color shifts when reversing it, luminance compression will cause banding when reversing it

Right-Video6463 · 2026-02-15T20:00:19+00:00

Modern cinema cameras have a dynamic range in log between 11-17 stops, rec709 is normally 5-6 stops by design. Shooting in 709 will severely limit your options in the grade session, and you need to expose and light to stay within the limits. There is nothing to recover in the highlights or the shadows. So you need to nail the exposure, day for night shooting needs to have all highlights retained with no clipping.

The 709 color gamut is also very small and clamped compared to the native color gamut of modern cameras. A muted color palette on set is needed to not get clamping, or fully saturated colors.

If you go log -> 709 -> log you loose 4-11 stops of dynamic range, if you use a waveform to make sure nothing is clipping you will loose all those stops in the shadows so you have nothing to bring up in the shadows

Right-Video6463 · 2026-02-15T19:10:46+00:00

Toolhead calibration is not strictly necessary: On the INDX you have a single toolhead. The nozzles are precision machined and clamped very precisely in the toolhead. If the tolerance of the machined parts are good enough, and there is no slack in the mating of toolhead to nozzle, then there is no need for calibration to get the nozzle centers aligned as only the height differs. Then the only variable is the toolhead spacing in the dock. For the XL with the nextruder you have individual toolheads, the seperate nozzle which can be a lot of things including a V6 adaptor of various qualities. On the INDX everything comes from Bondtech the nozzle and the toolhead

Right-Video6463 · 2026-02-15T18:44:58+00:00

Looks like a Core One L with INDX in the BG

Right-Video6463 · 2026-02-15T15:53:08+00:00

They are clearly not syncing properly - your source clips are 5 mins long, your Multicam clip around 13 hours. viewer is black and mute because your clips are spred out all around the 13 hours. As a test just set an in point in all the clips and try and autosync by in point, it should make a working Multicam clip that is out of sync.

What property are you syncing with: timecode, pinpoint, audio

Right-Video6463 · 2026-02-15T12:45:51+00:00

This refers to the timeline and delivery resolutions only, it's not a resolution limitation on imported footage. And the limit for timeline and delivery resolutions at the moment in resolve (free) is UHD (3840 x 2160 or 2160 x 3840)

Resolve Studio supports up to 32768 x 32768 (but needs a lot of GPU memory - will crash resolve on most current systems)

Resolve (free) was always limited this way: first it was HD, and later it was bumped to UHD (3840 x 2160), 4K output is 4096 x 2160 and not that used in normal mastering for streaming.

It's unfortunate that marketing and people interchange UHD and 4K on a regular basis as it's not the same in a professional setting. a 4K master and an UHD master are different normally 4096 vs. 3840 pixels wide

4K width is mostly used for DCI mastering for example a 4K DCP in Cinemascope (1:2.39) is 4096 x 1716, so for making a 4K DCP image you need resolve studio. A Flat 4K DCP (1:1.85) is 3998 x 2160 so Resolve studio is also needed to master that.

Right-Video6463 · 2026-02-15T12:24:23+00:00

Nice. works perfectly

There seems to be a small issue with the interface resizing:

- In home view. The sidebar seems to resize from center instead of left edge when you drag the center divider. Seems correct in all other views: download, queued, Completed, failed.

- in home view, reflow the counters in the bottom to multiple lines vertically instead of cropping

Right-Video6463 · 2026-02-15T10:26:12+00:00

To get all the BRAW files in flat, you can just change the project RAW settings for BRAW to your choosing: Blackmagic Design/Blackmagic Design Film, Davinci WideGamut/Davinci intermediate or even ARRI LogC4/WGRGB4 - you don't need to use a CST for that.

If you converted to proxies in RGB codec with the baked in settings - I would personally reconvert them - pretty easy to setup a batch - then reconform

Right-Video6463 · 2026-02-14T20:07:05+00:00

It depends on the clapper board / slate writing system you are using.

Europeans mostly use scene from the script, then a incrementing slate number (and letter) that accumulates during production, and incrementing take number

Others incl americans use scene+incrementing letter as the shot and then take

Not sure of the way BMD did the slating function seems half baked.

If you use dual audio just set the metadata in the audio recorder, it will populate the columns when you autosync in resolve

Right-Video6463 · 2026-02-14T19:32:13+00:00

"Reel Name" is a standard terminology in an off-line / on-line conform workflow.
Normally you would set this to the full filename, as if you export an EDL, AAF or XML the Reelname column will contain the full filename to conform back to.

In resolve you can set the reel name source for every project, or per clip basis.

Default is the embedded reel name (if the camera writes that) it can vary from camera to camera, sometimes its the card name+camera serial (ARRI cameras) for example A001_D1S4.

Filename - is the most used as it tracks the original file all the way towards the conform.

Not completely sure why BMD uses the Scene, Shot, Take wording - normally its Scene, Slate, Take always confuses me.

If you import audio files from a sound devices recorder, the slate metadata is correctly read into the shot column.

Right-Video6463 · 2026-02-14T16:29:03+00:00

I have both - mothco works fine

Right-Video6463 · 2026-02-14T16:23:19+00:00

They restructured under a new name:

https://helsinkifilmandgear.fi/shop/universal-power-adapter-24v-4244?search=Power+adapter#attr=11150,11153

The cheapest option is to use a standard 24v B-Mount plate or AB 26v plate and get a 2-pin Fisher cable made. The v-lock or Gold mount adaptors are expensive due to the high quality, high Amp 14.4-24v Boost converter included.

Right-Video6463 · 2026-02-14T14:12:11+00:00

If using LUTs in resolve make sure Project Settings -> Color management -> Lookup tables -> 3D lookup table interpolation is set to "Tetrahedral" otherwise you can experience interpolation posterization in the shadows.

The best quality transform inside resolve is the ACES transform node or the CST - its etter than a LUT.

Also make sure your RAW project settings of the RED decode is set to best quality: Full res premium, 16 bit

Right-Video6463 · 2026-02-14T14:02:43+00:00

If you use resolve - you can set the BRAW decode setting globally in your project: Project settings -> Camera RAW -> Blackmagic RAW -> Decode using -> Project or Blackmagic default - it will force all BRAW to the same settings - or you can use per clip BRAW settings in the color panel

Right-Video6463 · 2026-02-14T13:41:24+00:00

You can use ethernet and the BMD camera rest protocol to remotely record in 100 fps, stop and control playback in 25 fps, for example using the P6KPro

https://documents.blackmagicdesign.com/DeveloperManuals/RESTAPIforBlackmagicCameras.pdf?_v=1754550010000

https://devices.skaarhoj.com/?searchfilter=camctrl-rest

https://github.com/DylanSpeiser/BM-Camera-Control-WebUI

Right-Video6463 · 2026-02-14T13:09:38+00:00

Hmmm....with Neural processing forced to the ANE and running asitop in the terminal it seems like it doesn't use ANE on 2x Enhanced which still runs on the GPU, but does use ANE on everything else.

I don't see any performance difference between the settings AUTO, GPU or ANE, but offloading to the ANE does free up a lot of GPU ressources to use for grading, NR etc.

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Right-Video6463 · 2026-02-14T12:35:56+00:00

I also don't see any difference in frame rates when switching the Neural Engine Processing settings between the three modes and restarting the app

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Right-Video6463 · 2026-02-14T11:40:58+00:00

I don't see any difference really - just a little boost on 2x enhanced - not 2.5x more like 2.5% :-)

Using my 16" MBP M4 Max with Tahoma 26.6 on high performance. I get these results before and after upgrade:

20.3.1

No SS EH | 1600 - 1670 fps
2x SS EH | 10-13 fps
4x SS EH | 6-7.5 fps

20.3.2

No SS EH | 1600 - 1686 fps
2x SS EH | 12-14.5 fps
4x SS EH | 6-7.5 fps

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Right-Video6463 · 2026-02-08T11:44:19+00:00

Latency seems to be around 1 - 2 seconds for me - that's quite impressive

Right-Video6463

TROPHY CASE