Chris Hall
Forum Replies Created
-
No Crashing here, working on Uncompressed 10bit 4:2:2 23.98fps feature for past week and haven’t had a problem.
Autosave works fine for me. You may already know this, but make sure to check “To backup project” if you want autosave to save it to the “Auto-backup List” (also, you might need to hit refresh to see it there if you don’t). Just checking autosave “on” literally saves the project to the “current project” (not on the auto-backup list).
Chris Hall
Colorist – Basher Films
Pasadena, CA -
Definately go for the 12 core if you work with interlaced 1080i 59.94 material (mainly prores HQ or 444). I find that with only one scope on, my 2009 8 core 2.26ghz Nehalem cannot play back most interlaced 30fps material in real time. As soon as I turn the scopes off, I get a couple nodes of real time. Uncompressed 10bit 422 works the best for me as I usually get 2-3 nodes of correction before playback decreases(and only one waveform on). A little more CPU processing power here would be a great advantage, wish I’d bought the 12 core. I am getting an ultrascope on a seperate computer to run my scopes off of, so that will decrease my load there signficantly in the future.
BTW, 24 frame material is not a problem at all on my system, get a bunch of nodes of playback no matter what format. But interlaced 30 seems to be a a bit of a CPU issue right now. Hopefully there’s codec improvement in the future as I’ve tested the cpu loads for prores decompression in both DaVinci and Final Cut Pro and FCP uses much less processing power to decode a stream of prores than DaVinci does… not sure why.
Chris Hall
Colorist – Basher Films
Pasadena, CA -
woops, yes, that’s what I meant. simple enough. I’ll take my foot out of my mouth now.
Chris Hall
Colorist – Basher Films
Pasadena, CA -
but… the question still remains, is there a way to select a number of similar shots and “link” them so that they all share the same grade, and if one is affected all the rest are…
Chris Hall
Colorist – Basher Films
Pasadena, CA -
I believe the “batch unlink” function is what you want to use here, at least for a quick way to delink all of them. Right click the clip in the color room timeline and select batch unlink. Haven’t figured out how to relink specific clips yet though so that their corrections would apply to all. Anyone know how to do this?
Chris Hall
Colorist – Basher Films
Pasadena, CA -
I’ve tried both “preconform” and “load aaf/edl” with both the fcp and premeire EDL’s. FCP EDL doesn’t include all the cut points and the premeire pro generated one does… every time… I dunno, go figure.
Just for my own reference, the manual’s a bit vague about how “preconform” and “load aaf/edl” actually differ in functionality. The only thing I can assume is that preconform is designed for flattened single clips while “load aaf/edl” is for “conforming” multiple media pool clips to their designated locations on a timeline within a session. Is that about right?
Regardless, both accomplish the same thing in this case for a single clip in the media pool. And in both cases the premeire pro edl works fine and the fcp one misses cuts at random places.
(I double checked the FCP generated EDL by importing it into premeire pro and checking the cut points, and indeed they are all there in the proper places, so the issue I’m having is occuring in Resolve, not at the FCP EDL generation)
Chris Hall
Colorist – Basher Films
Pasadena, CA -
Arthur, Robbie, thanks for the helpful comments. Fortunately (or unfortunately) I’ve narrowed the problem down to how DaVinci is interpreting FCP’s generated EDL. Basically, long story short, it doesn’t like it for some reason and skips numerous cut points completely at random. So I figured out a workaround using Premiere Pro.
If I simply import the FCP project into Premiere Pro (via premiere pro’s xml or edl import), then re-export an EDL from Premiere and use that to conform the flattened quicktime in DaVinci, all works fine. Cuts and dissolves are in the proper places and no need to split the quicktime into seperate clips in the media pool or any of that. Go figure. Don’t know if its a bug, or just something weird with my system. If the FCP EDL’s are working for Robbie, then I’ll assume its something with my system (maybe you have a newer Beta of DaVinci robbie?).
Would love to know if anyone else runs into this! Can’t wait for XML support in future versions of DaVinci??? keeping my fingers crossed.
Chris Hall
Colorist – Basher Films
Pasadena, CA -
The only problem with scene detection is that it doesn’t catch dissolves (unless I’ve overlooked something and have missed the boat on that one, someone please let me know if i have!). The dissolves are the big reason I’m “notching” the quicktime in final cut pro, because I really need them to come over on the EDL for the “baked” quicktime, as I haven’t figured out an effecient way to add them manually in resolve. (i know i can use the “mark” commands within a clip to keyframe my grades for dissolves within a shot, but this is extra time that adds up on on 90min features with lots of dissolves, and moreso its just hard to keep track of these and remembering where they are to key frame them). Having the dissolves already in place on the EDL leads to a lesser chance of errors in keyframing and more accurate timeline thumbnails to view in resolve when rifling through clips in the color timeline for quick grading.
Also with the split command, resolve is telling me that I have to split the clip in the master session to do this. If I’m working in another session (another EDL that is not the master session) then splitting the master session’s “split” quicktimes messes up the other EDL’s connected to those “split files”. (sorry if this is confusing, not sure of how better to word this). Is there a way of splitting the clip if you’re not working in the master session?
Chris Hall
Colorist – Basher Films
Pasadena, CA -
Ok now thoroughly confused…. may not know what I’m talking about at all.
I just restriped my RAID5 array and got my speeds back to 500mbps (although I’m still confused as to whether this is 500mbps or 500Mb/s based on Blackmagic’s disk utility… but I digress), and low and behold I still have my Prores444 playback issue in Resolve. Can’t hit more than 26fps for 1080i 59.94 ProRes444 files. Furthermore, I tried some ProRes422 HQ 59.94 1080i files and I got the same problem, playback speeds of only 26-27.5fps. I took Dwaine’s advice and turned off all scopes, which basically got me from 24ish to 26fps. The proxy playback gets me intermittently to 30fps but still not consistenly. I then tried some 23.98 1080p ProRes 422HQ and 444 footage and Resolve was able to maintain playback at 24fps in all of its green bar goodness just fine. It just can’t make 30fps for 1080i 59.94 footage no matter what codec I use.
This seems odd to me as I’m running the same configuration as Dwaine (Mac Pro 2009, 2×2.26 Quad-Cores, 24GB of RAM 1066mhz, GTX285, GT120), and not able to get realtime playback.
Ugg… I’m stumped.
Chris Hall
Colorist – Basher Films
Pasadena, CA -
Hey sorry for the bits and bytes confusion. It is in fact megabits per second which is mbps. Blackmagic’s own disk speed utility has it labeled wrong (they label it as MB/s which I’m assuming should be mb/s, see the pic below (someone correct me if I’m wrong again):
Prores is rated at 330mb/s and my array is only giving me 300mb/s at the moment which is obviously not fast enought; I usually get 500mb/s out of this guy, so I think my issue is with my RAID hardware. I’m restriping my array tonight and I’m going to test it in the morning, thinking I might have a PCI-E I/O conflict possibly as well that’s bottlenecking things.
On another note, Dwaine, thanks for the advice on the waveforms, once I get the RAID issue sorted out I’m going to use that if I get playback issues for sure. Another question for you, are “on the fly” proxies actually DPX files, and if so how do they differ from the “render cache” option.
Chris Hall
Colorist – Basher Films
Pasadena, CA