I apologize if some of these questions are naive, I tried searching but am having a hard time finding the answers:
Info: I shot a short film on the Blackmagic (4K Prores HQ, Log). I edited in Premiere Pro. Export XML to Resolve to Color grade. Export from Resolve back to Premiere using DNXHR. Exported out of Premiere (DNXHR RGB 444 4K). I am using this to create a DCP.
I need to create a DCP for a festival screening and want to see what the best workflow/export settings are for each stage.
I am really confused by the following: RGB vs YUV and Rec. 709 vs. XYZ. If someone can explain like I'm 5 years old what those are, I would greatly appreciate it. I understand them a little but don't know which one I'm using at what stage.
Examples:
1. When I record Prores HQ Log from my camera is this RGB/YUV Rec.709/XYZ? (Is XYZ the same as log?)
2. When I edit in Premiere from the Prores HQ files, does premiere change any of these values? (How about when I export the XML to Resolve?)
3. When I export from Resolve as DNXHR 444 12 bit (Quicktime, "Full" data levels), do any of these change?
4. When I export as DNXHR 444 RGB 10 bit (mxf op1a) do any of these change?
My main questions are:
1. Starting with Prores HQ Log files, what is the best export settings to go from Premiere to Resolve to Premiere to DCPoMatic (and final DOM ouput settings) to play in a theatre setting?
2. What the heck is RGB/YUV and Rec709/Log and how can you tell when a video file uses one or the other?
3. Is there a quality difference between Quicktime wrapper vs. MXF OP Atom when exporting DNXHR? (out of Resolve)
4. Should I select Rec 709 or XYZ when creating a DCP in DCPoMatic?
Thank you!
Workflow Questions
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Carsten
- Posts: 2804
- Joined: Tue Apr 15, 2014 9:11 pm
- Location: Germany
Re: Workflow Questions
Which version of Resolve are you using?
Why do you export back to Premiere after Color-Grading in Resolve?
As a 'good' rule of thumb - never use data levels for standard video files (like Prores, MP4, DnxHD, etc.). This will usually cause trouble at some later stage.
Normally, unless you have a P3 calibrated viewing system for color grading, all your roundtrip files should be rec709. Most people use rec.709 monitors, and that is also the default for editing. That's the color space for video work. Only when the DCP is created should XYZ come into play. Usually, DCP mastering software as DCP-o-matic will do the XYZ conversion automatically. You tell DCP-o-matic what your source color space is (rec709 in this case), DCP-o-matic handles the rest.
- Carsten
Why do you export back to Premiere after Color-Grading in Resolve?
As a 'good' rule of thumb - never use data levels for standard video files (like Prores, MP4, DnxHD, etc.). This will usually cause trouble at some later stage.
Normally, unless you have a P3 calibrated viewing system for color grading, all your roundtrip files should be rec709. Most people use rec.709 monitors, and that is also the default for editing. That's the color space for video work. Only when the DCP is created should XYZ come into play. Usually, DCP mastering software as DCP-o-matic will do the XYZ conversion automatically. You tell DCP-o-matic what your source color space is (rec709 in this case), DCP-o-matic handles the rest.
- Carsten