[Joakim Ziegler]

What protocol are you using for your network drive? I’d suggest trying NFS instead of AFP (which is really SMB4). NFS is a bit more manual to mount, but generally less prone to disconnects and weirdness than AFP. It’s also quite a bit faster.

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Joakim Ziegler – Postproduction Supervisor

[Joakim Ziegler]

A matter of taste, I guess. I find pfClean’s stabilize functionality to be so cumbersome to set up and use that it’s almost useless, especially for stabilizing lots of shots.

Although, to be honest, the best solution to this is a scanner that does optical stabilization, which ours does, so the image is always rock steady, including eliminating splice jumps completely… That only leaves gate weave on opticals, which is easy to fix in Resolve.

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Joakim Ziegler – Postproduction Supervisor

[Joakim Ziegler]

You can export EDL or FCP XML and then ColorTrace. But you are totally right, this has been a problem for a long time, and is really, really something BMD should fix, it’s pretty embarrassing.

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Joakim Ziegler – Postproduction Supervisor

[Joakim Ziegler]

Technically 2048×1080 is a legal DCP resolution. However, few theater projectors have presets for it. The correct procedure is to create your DCP in 2048×858 (and somehow solve your flicker problem, which I don’t really understand from your description).

The DCP you describe would likely also fail quality control when delivered to distributors and possibly also festivals.

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Joakim Ziegler – Postproduction Supervisor

[Joakim Ziegler]

None of the interface updates have required you to “relearn everything over”, the last time they rewrote the interface (4 years ago?) it was largely the same, but reimplemented and improved. Most stuff worked basically the same way. I expect this to be the same way.

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Joakim Ziegler – Postproduction Supervisor

[Joakim Ziegler]

Uh. They clearly gave up on Color because they were happy to have a better color correction system for their OS without having to maintain it themselves. Color probably never generated profits. Apple is primarily a hardware company, they always have been.

And “Resolve is serious about becoming an edit platform” is totally misguided. It’s an “online editor”, that’s totally different from being a normal NLE that editors use. Resolve’s edit functionality is fine for conforming and making adjustments to an edit, they’re nowhere near what you need to edit a feature film from scratch, nor do they need to be.

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Joakim Ziegler – Postproduction Supervisor

[Joakim Ziegler]

Peter, which CPUs are these? I can’t find a Linux build guide listing anything bigger than 10-core Xeons.

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Joakim Ziegler – Postproduction Supervisor

[Joakim Ziegler]

I’ve seen this with insufficient GPU memory. What’s your config?

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Joakim Ziegler – Postproduction Supervisor

[Joakim Ziegler]

Anything from ProRes HQ 422 to ProRes 4444 or ProRes 4444 XQ (I assume Premiere can do that) will work well. ProRes 4444 XQ can do 12-bit (but I’m not sure Resolve writes it as 12-bit, it writes normal 4444 as 10-bit even though it can also support 12-bit), and is as close to lossless as you can get. It’s about 2.5-3 gigs per minute, though, so not extremely lightweight, but still a lot better than any uncompressed options.

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Joakim Ziegler – Postproduction Supervisor

[Joakim Ziegler]

h.264 has varying max resolutions depending on the level. There are certainly levels that can do 4k and higher, as well as 10-bit, etc.

The h.264 encoder in Resolve is, in my mind, pretty useless, because it gives basically no control over level, bitrate, or other parameters which are essential for controlling compatibility, decoding CPU load, and so on. Just output, say, ProRes, and encode with ffmpeg/x264. Resolve can actually read high-bitrate, high-level 10-bit h.264 files (although not very efficiently), but there’s no way to encode them.

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Joakim Ziegler – Postproduction Supervisor