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Exporting red 4k from Da vinci resolve best option?

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Katie. A

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What are the best settings for exporting red 4k clips from da vinci resolve to use it in FCPx ?
QT uncompressed 10 bit RGB,
QT uncompressed 10 YUV,
Pro res 444,
Pro res 422,
DPX 16 BIT


Video level or Data level
 
Katie. A said:
What are the best settings for exporting red 4k clips from da vinci resolve to use it in FCPx ?
QT uncompressed 10 bit RGB,
QT uncompressed 10 YUV,
Pro res 444,
Pro res 422,
DPX 16 BIT


Video level or Data level
Click to expand...

video level...very important

Many variables could dictate your choice. A few that come to mind are:

For offline or creation of deliverables? What is your intended workflow?

What are your system specs? Is it, or does it need to be mobile? What is your storage capacity and how many hours of material do you have?

How complex do you expect the edit to be? Is it multi-cam or composite heavy?
 
Hi Scott,
"
"What are your system specs?" nMp 12 core.
"Is it, or does it need to be mobile?" no and mobile is not needed.
"What is your storage capacity" 20+TB
"and how many hours of material do you have?" 2 hours
"How complex do you expect the edit to be?" very basic simple
"Is it multi-cam or composite heavy?" single cam not composite heavy.

We made a corporate video approx 5 minutes in red 4k.
Edit in FCPx hd timeline, export xml-color grade in Resolve and export from resolve as QT-Pro res 422 Or QT uncompressed 10 bit YUV or QT uncompressed 10 bit RGB and then bring it in FCPX for master export. Red r3d has full data range but my grading monitor is rec 709 connected via hd link pro. So in resolve project settings i should set data level and in delivery/export settings set to video level ?? I set monitoring to video level?
Sorry Mathieu I didn't get what you meant :-(
 
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Katie. A said:
Hi Scott,
"
"What are your system specs?" nMp 12 core.
"Is it, or does it need to be mobile?" no and mobile is not needed.
"What is your storage capacity" 20+TB
"and how many hours of material do you have?" 2 hours
"How complex do you expect the edit to be?" very basic simple
"Is it multi-cam or composite heavy?" single cam not composite heavy.

We made a corporate video approx 5 minutes in red 4k.
Edit in FCPx hd timeline, export xml-color grade in Resolve and export from resolve as QT-Pro res 422 Or QT uncompressed 10 bit YUV or QT uncompressed 10 bit RGB and then bring it in FCPX for master export. Red r3d has full data range but my grading monitor is rec 709 connected via hd link pro. So in resolve project settings i should set data level and in delivery/export settings set to video level ?? I set monitoring to video level?
Sorry Mathieu I didn't get what you meant :-(
Click to expand...

That sounds good. Either of those formats (ProRes HQ or Uncompressed 10 bit) should yield a good master for HD deliverables, if that was your question. With no further compositing or grading to do, ProRes HQ is just fine IMO. Many corporate clients request ProRes 422 as the delivery codec of choice. What are your deliverable requirements?

With regard to your video/data level question; I believe you are referring to the export setting in Resolve and not a display setting. Video levels are what you want. Otherwise the video you export and bring into FCPX will not resemble your Resolve session. It will appear crushed.
 
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Deliverable-Pro res 422 hq.
In Resolve display/monitoring-video level and exporting from resolve- video level is right???
 
Don't forget the all-important "Force debayer res to highest quality" in the output render settings.
 
Ok.
In Resolve monitoring-Video level,
Export -Video level,
Out Put Render-Force debayer res to highest quality,

Export-Pro res 4:2:2 for broadcast delivery
Pro res 4:4:4 or QT uncompressed 10 bit RGB for DCP?

If we are grading 4k video in 2k timeline can we export it as 4k in Resolve?
 
Is there a difference in color between Prores 444/HQ and Uncompressed 10 bit?
 
Jason Kraynek said:
Is there a difference in color between Prores 444/HQ and Uncompressed 10 bit?
Click to expand...

I will presume that you are asking about both ProRes 444 and ProRes 422 HQ since there is no ProRes 444 HQ.

All three codecs are 10-bit.

ProRes 444 is actually 4444... it includes an alpha channel which 422 does not. The other difference between them is chroma sub-sampling so yes, there is a color fidelity difference between the two of them but not such as you would notice looking at them for the most part. The difference so far as I know is one of malleability.
 
jake blackstone said:
He's probably talking about Prores 444 XQ. The difference being any Prores files is compressed, while Uncompressed 10 bit is … uncompressed.
Click to expand...

I always got that....but just to tickle my brain...wouldn't uncompressed be the native .r3d file? So it's still putting on some sort of compression since it isn't exporting an .r3d file....
 
Savva Svet said:
I always got that....but just to tickle my brain...wouldn't uncompressed be the native .r3d file? So it's still putting on some sort of compression since it isn't exporting an .r3d file....
Click to expand...

No, uncompressed would be a debayered image.
 
I'm exporting on windows so I don't have ProRes as an option. What's the best solution for me? I also get quite different results based on what format and data/video levels I choose. I've graded with a calibrated display based on video levels. When exporting with video levels to an MPEG4 I get the same result when playing in a player like VLC, but not in Quicktime player where it looks washed out. Changing to Data levels on export crush the blacks instead. But when I export to a DPX sequence I get a washed out result when exporting with video levels. If I apply an "auto-level" adjustment effect on the DPX sequence in Premiere it gets back to what it's supposed to be.

Shouldn't video levels DPX sequence create the same result as my grade had in Resolve? Why does a video level export to MPEG4 look good in VLC but not quicktime while the same settings for a DPX sequence generate the same washed out result as viewing the MPEG4 in quicktime?
This data/video level confusion is getting on my nerves. It should be logical, I know what they represent, but why won't the export be correct? I just want to create a damn master of my sequence, a DPX sequence or a quicktime in UHD resolution with the same levels as what I saw in Resolve. I don't want to roundtrip back to Avid just to get the correct levels.
 
Resolve and VLC will show you the correct image, Quicktime and other software will not.

On a mac, your color profile in the system preferences will change the way quicktime is displayed, but not Resolve or VLC. Quicktime player also has some gamma issues. I assume that your seeing the same thing on your PC.

I don't think it's your file that has the issues, just the media players. if it looks right in resolve and VLC you should be fine.
 
But Premiere show washed out colors as well when rendering out video range. Using data range you get a correct image. Rendering that data range timeline out of Premiere gives you a correct image in any player. So exporting a video range DPX sequence from my video range graded footage to a video NLE gives me washed out colors on the premiere export while grading in video range, exporting in data range, import and export through premiere gives me the correct image...

...that should be wrong
 
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