[Dieter Heinz]

hm.. not so much feedback-

No workaround, not possible I guess!?

[Dieter Heinz]

Hi Simon,
thanks for your answer.

I hope I did get you right – all the media is available to me without problem. But although Resolve finds the files for processing it still has limited options as there is no 1:1 connection from Subclip to a physical file. This results in the lacking possibility to assign a reel and therefore a remote grade to those subclips.

This also dismisses a workaround via folders as the subclips don´t reside in a folder on the harddrive.

Cheers,
Kilian

[Dieter Heinz]

Hi Al,
yeah, I always look over with envy to all the open source tools, avisynth, ffmpeg, etc..

Problem is that our input quite often is formats like IMX in .mxf, QT Prores, XDCam, etc. so PPro helps a lot in eating all this and displaying it via SDI.

Nevertheless if I find some time I will at least try and see what the quality is like. From all I read it must be quite good.

Cheers,
KH

[Dieter Heinz]

Hey Tim,
thanks very much for your answer.

– I am sure the chroma thing is not a display bug. I monitor via SDI, compared it to other similar files, rendered the stuff, playback, etc.

– I actually tried the Instant HD, compared to the Boris FX “Uprez” it loses, I´d say..

– deinterlacing with “always deinterlace” I cannot use. Introduces heavy aliasing, I think it just discards one field, then interpolates. Sometimes useable, in an interlaced sequence is “flicker removal” but this can cause bad moires or patterns and is a bit soft.

Cheers,
KH

[Dieter Heinz]

Hi Tim,
CS6 with latest update.
Cheers,
KH

[Dieter Heinz]

Thanks for the answer.

I am just wondering if Resolve really cooperates with the GT650M. Adobe Premiere still seems to be very picky about which graphics card to use and I think it wouldn´t work right now.

It´s just more an investment into the future if I´d buy the new one I guess!?

[Dieter Heinz]

Hi all.

Thanks David, seems like good news for me. That was about the answer I was hoping for 🙂 And interesting link!

I think I´ll go for a GTX 470 then.

It´s just the other thread confused me a bit about power issues in general. Long time ago, a friend of mine fried a G4 on a PSU issue, so I want to stay on the safe side. For my PSU it doesn´t seem to be much a difference though between the 285 and the 470, just different connectors.

I´ll have to do some research on this. Will report back.

Thanx so far guys!
KH

[Dieter Heinz]

So,
did a side-by-side comparison. I still think Premiere´s scaling is quite good! Saying this compared to FCP for ex. but still without CUDA-card installed and therefore without Lanczos-algorithm. But I also agree- Instant HD gives at least the impression of a bit more detail, so could be done. Unfortunately the sharpness it adds also applies to noise in the pictures so seems to be just a spatial contrast enhancer. I still have to test the anti-aliasing feature.

Anyway I still don´t know what to do graphics-card wise. Does anyone have experience with CUDA-cards on Premiere on Mac? My original question was which one to choose. I don´t want to order the GTX 285 for Mac from Hong Kong, wait 3 weeks for Christmas just to realize it doesn´t add to my quality any further- being scaled with Instant HD or not.

And- if anyone knows a solution concerning the crushed super-whites in Prores I would be happy, too!

Cheers,
KH

[Dieter Heinz]

Hi Ann.

Thanks for the info.
I had done a test and was halfway OK with the scaling. But of course you are right, there´s nothing like motion estimation involved. Red Giant doesn´t report about their methods. But I´ll give Instant HD a shot; just dl´ed the trial, will report.

Talking to a Premiere Pro Expert I have another important question:

When exporting HDV-footage (one part of the project is shot in HDV, mpegs captured with PPro, the rest digibeta) to Prores (HQ), luminance values above 100% are crushed down to 100%.

I tested the files with AJA Kona output from Premiere and FCP. It seems like Premiere doesn´t handle Prores Export that well. With export to Uncompressed the problem is almost solved (there is a slight shift in values, too) but of course the files are huge.

I thought about switching to a Cineform workflow. As I wrote I want to continue working in Da Vinci Resolve Lite.

Cheers,
KH

[Dieter Heinz]

Hi, thanks for the reply.
So this means it is not possible to use this system with other live Video Switchers? This use of the data packet in the PGM stream is only done by blackmagic?
Cheers,
Kilian