Change #2: Color Space and Gamma Tags on the Deliver Pageīlackmagic added the ability to select custom color space and gamma tags on the Deliver page with Resolve 16.2.1. The next two changes provide solutions for this issue. This can be really confusing especially when rendering files with 1-2-1 tagging and then re-encoding to 1-1-1 leading to shifts everywhere. So the source file in QuickTime and Resolve’s viewer don’t match.
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It would be great if there was an option to see these tags somewhere in Resolve.Īnother problem with this change is that Resolve displays QuickTimes with 1-1-1 tags as 1-2-1 if the timeline color space is Rec709 Gamma 2.4 and “Use Mac Display Color Profiles for Viewers” is on. Only by rendering the file and checking it in QuickTime can you tell which tags were embedded. However it’s tough to tell which color spaces correspond to which QuickTime tags. Color spaces in Resolve match QuickTime tags. In the same way, if files are exported with tags set to the default “Same as Project,” those tags will be embedded in the QuickTime file and match Revolve’s viewer. It will look darker in Resolve than it did in QuickTime because the tags don’t match. And Resolve’s color spaces should match corresponding embedded QuickTime tags in source files and renders.įor example, if an original camera file has 1-1-1 tags in QuickTime and it is imported into a Rec709 2.4 gamma project in Resolve and “Use Mac Display Color Profiles for Viewers” is turned on, that file will appear as if it has 1-2-1 tags. Then the Timeline Color Space defines how Resolve’s viewer displays files…ģ. If “Use Mac Display Color Profiles for Viewers” is turned on…Ģ. The most important thing to know about the viewer in Resolve after OS 10.14.6:ġ. That encoded file will no longer match Resolve’s viewer in QuickTime. Re-encoding these files with something like Handbrake would remove the 1-2-1 tags and change them to 1-1-1. So if you export your file and your timeline color space is Rec709 gamma 2.4 which are the default project settings, the QuickTime render will contain 1-2-1 tags. In later OS’s past 10.14.6, with Mojave and Catalina, checking the “Use Mac Display Color Profiles for Viewers” means that QuickTime WILL match the viewer with the properly encoded tags 1-2-1 for 2.4 gamma. This is what I illustrated with my last article. By re-encoding the file with something like HandBrake or Adobe Media Encoder, the tags change to 1-1-1 and THEN the re-encoded QuickTime would match the Resolve viewer. The exports would look much darker in QuickTime than Resolve’s viewer. On export, Resolve embedded tags as 1-2-1 for rec709 gamma 2.4. Previously, Resolve’s viewer would look like it was tagged with 1-1-1 QuickTime tags. In previous OS’s, checking that option would mean that your viewer would NOT match QuickTime with the timeline color space set to rec709 gamma 2.4. Specifically it works differently in OS’s later than 10.14.6. Unsubscribe at any time.Ĭhange #1: Color Space Settings in Resolve Match QuickTime tags in Resolve’s viewerįor the first change, “Use Mac Display Color Profiles for Viewers” works the opposite of how I described it in my last article. Having independent depth-cueing for surface (nearest-point) and interior (brightest-point) allows for more visualization possibilities.We respect your privacy. For both kinds, depth-cueing is turned off when set to zero (i.e.100% of intensity in back to 100% of intensity in front) and is on when set at 0 < n 100 (i.e.( 100 − n)% of intensity in back to 100% intensity in front). Interior Depth-Cueing works only on brightest-point projections. Surface Depth-Cueing works only on nearest-point projections and the nearest-point component of other projections with opacity turned on. Two kinds of depth-cueing are available: Surface Depth-Cueing and Interior Depth-Cueing.
The trade-off for this increased realism is that data points shown in a depth-cued image no longer possess accurate densitometric values. The depth-cueing parameters determine whether projected points originating near the viewer appear brighter, while points further away are dimmed linearly with distance. Surface/Interior Depth-Cueing Depth cues can contribute to the three-dimensional quality of projection images by giving perspective to projected structures.