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Thanks Rohit! Any chance there wil be a “secret manual” released for the panel at some point? It seems like there’s a lot of functions that currently isn’t covered in the manual.
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I have to respectfully dissagree with some of the above statements with regards to what codecs to use when using poor acquisition codecs. I would argue that the more compressed you start off with the less you want to compress your footage during your post-production workflow. Especially with DSLR you want to keep native or use a codec which “freezes” the original quality. I would use nothing bellow ProRes422 HQ (if you can) as it will increase the noise in your footage.
Try doing some A/B tests with different workflows and you will see a difference. It’ll be more or less noticable depending on the complexity of your footage.
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I’ve looked at SR but not directly compared it to Resolve. SR scaling is really good, but MPEG Streamclip is nearly as good (excpet not doing 709 to 601 conversion). From the top of my head I imagine Resolve is up there… (although not on interlaced material).
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Indeed when you render it out. It’s always the highest quality no matter how you’ve set up your system.
When you downconvert interlaced material you have to use the “field rendering” option in order for the motion to look correct. However, results are not nearly as great. Quite a bit of aliasing.
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I’ve done a fairly comprehensive test of conversion in DaVinci Resolve and the downconversion is amazing. A lot better then anything you can do with Final Cut Studio (including Compressor set to Best, which is really slow and not that great). Use smoother filter. Quality is good provided you go from Progressive, Interlaced scaling is not nearly as good.
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Dear Taj,
The problem will be to make the interface useable with such a low screen resolution. Things are actually quite crammed on a 1920×1080 resolution screen, especially if you try to work using a mouse and keyboard rather then a control surface. I also believe that although they allow you to run Resolve of a MacBook Pro 17″ this is mainly for on set preview, quick grades etc but at the facility it should run of a Mac Pro with BlackMagic Decklink card and two GPUs plus ideally the DaVinci Resolve control surface and BlackMagic Ultrascope, both of which are really great products!
I wouldn’t think (and I really hope) a GUI that’s optimized for resolutions less then 1920×1080 is something they spend time on doing as this is not what’s important for most Resolve users. I believe XML support, support for more formats (IMX50, XDCAM HD422, AVCIntra, DVCPro HD etc..) and general performance and stability optimization is much more important.
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If you have the disk space / speed you’ll be a lot better off going uncompressed 8bit. Going to ProRes will introduce additional artifacts and degrade the quality of your images. Especially if you’re going back to XDCAM HD422 afterwards.
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I’ve been doing trials with preconform for about 3 hours yesterday since most our finsihing is from flattened quicktime or MXF files. What I found was that as long as I tidy up the timeline in FCP first, everything works flawlessly as long as I export the EDL with “Generic Edits”. It was really a great discovery for me that the dissolves are handled in this fashion – it means hours of saved time if the editors has gone crazy with dissolves.
I have not seen the issue where the edit becomes longer – I’ve even synced my timeline with audio (which is a great feature after being stuck with no audio in Color for so long)
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How about doing a batch encode to h264 and give the files to the client on a drive? I was about to suggest you get the Matrox mxo 2 mini w/ max to get realtime encode but seeing as you’re on a G5 that wont work. And I suppose the encode would be quite painful.
If you output to DV tape from a timeline and the client is planning to do a paper-edit, how would they reference your original clips? (as timecode and clipnames would disappear in the process…)
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With regards to the timecode reader: Is it possible to read the source timecode of clips on the timeline?