Joakim Ziegler
Forum Replies Created
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My first option would be to ask the VFX people to match it as part of their compositing. They have better tools to do it then you will have in Resolve, and if they requested the filter not be used on VFX shots, it’s kind of their responsibility to match the VFX shots to the rest of the material.
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Joakim Ziegler – Postproduction Supervisor -
BMD sells a very nice keyboard for Resolve. It’s a bit pricey, but you can’t beat the functionality or the convenience, and it comes bundled with a normal keyboard. 🙂
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Joakim Ziegler – Postproduction Supervisor -
FCP X is currently making inroads in several pro markets, especially in broadcast and commercials, so you might want to reconsider that. I think it’s probably more commonly used in pro contexts than Premiere is, although there is some Premiere. Avid is obviously still around as it always has been, and a lot of people still cut on FCP7, waiting to see where things will go. If you want something new, I’d probably recommend either Avid or FCPX.
Resolve has gotten a lot of new editing features, but I’d still definitely consider it an online editor/finishing tool, not an NLE for what you’d usually use Avid or FCP for. It’s still got quite a way to go before it gets there, and honestly I doubt that’s what the focus is ever going to be. Think of it as trying to be a replacement for stuff like Smoke, not FCP.
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Joakim Ziegler – Postproduction Supervisor -
You should send this to support@blackmagicdesign.com along with crash logs.
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Joakim Ziegler – Postproduction Supervisor -
“some 10-bit colors just don’t exist in 8-bit codecs”
While that’s technically true, that’s not something that will cause a color shift. If your codecs are working in the same color space (in most cases, Y’CbCr), they will cover the same gamut, just with different quantization. The “extra” colors in 10-bit exist between the 8-bit colors. So no, there’s no color shift because of this.
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Joakim Ziegler – Postproduction Supervisor -
I would definitely go with ProRes 422 HQ, or otherwise as high quality as you can. Bitrate is not directly comparable between codecs, both in quantitative terms (h.264, being interframe, can be expected to be between 5 and 10 times as efficient as an intraframe codec like the ProRes family), but also because the types of artifacts are not the same, and just because a stream has been compressed to a bitrate with one codec, it doesn’t mean recompressing it with another codec, even at a higher bitrate, will not introduce more artifacts.
This goes double for material that you’re going to grade, since the “visually lossless” compression of most codecs, like ProRes, will compress highlights and shadows more, since they’re perceptually less important, but that might not hold when you start grading.
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Joakim Ziegler – Postproduction Supervisor -
You should not be seeing any performance differences between shared databases and local database other than when loading and saving projects. There’s no traffic between Resolve and the database when playing back media.
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Joakim Ziegler – Postproduction Supervisor -
Page 14 of the Apple ProRes white paper has a graph of Peak Signal to Noise Ratio of the ProRes codecs at different generations of recompression of the same material:
https://images.apple.com/final-cut-pro/docs/Apple_ProRes_White_Paper_December_2013.pdf
In summary, there’s a slight loss in the first generation or two, then basically none. The first generation loss is also lower in the higher quality codecs (HQ and 4444) than in the others, as can be expected.
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Joakim Ziegler – Postproduction Supervisor -
We pestered BMD for ProRes support in Resolve for Linux for about three years, and we finally got it now.
As far as I understand, none of these products (Resolve for Linux or other non-Apple products on non-Apple platforms) license and use the actual Apple code. Instead, the 3rd party vendor (like BMD) has to write their own ProRes implementation, according to Apple’s specifications, which Apple will then test and certify, the vendor pays Apple licensing fees for the patents, etc., and then they’re free to use it in their product.
This is, I think, why there are so few third party products on non-Apple platforms with ProRes support. On the other hand, BMD now already has a certified ProRes implementation on Linux, so I guess they could use that for Windows if they wanted, and if Apple would let them…
So, in conclusion, the solution that worked for us on Linux was to corner and pester BMD, specifically Peter Chamberlain, at NAB, some three or four consecutive years, and you might get lucky. 🙂
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Joakim Ziegler – Postproduction Supervisor -
There used to be an issue several versions back where your choice of scaling algorithm could sometimes force Resolve to quantize to 8-bit. I think this was fixed quite a while ago, but you might want to change how you scale to see if that has anything to do with it.
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Joakim Ziegler – Postproduction Supervisor