John Tissavary
Forum Replies Created
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Could be an edgecode vs. absolute timecode issue.
In Resolve’s settings > Camera Raw > Red you can change ‘Timecode: Camera’ to ‘Absolute’ and see if that helps. For some reason (particularly if a Pix 240 was used on set) the absolute TC settings in R3D files get changed to edge on some clips, this should work around that issue.
JT
John Tissavary | colorist | owner
The Post Collective -
Very interesting, indeed…
John Tissavary | colorist | owner
The Post Collective -
Your graphics card is insufficient for Resolve. Check the configuration docs on the bmd website, but you will need an Nvidia card, not an ATI for starters. I’m not sure what fits in a macpro without expansion chassis, but I do know you can get an Nvidia GTX 570 in there and it will perform ok, much better than what you have. I think you can get a GTX 680 in, but someone else who’s done it will have to confirm.
Also make sure you have ‘use optimized playback’ enabled in settings.
JT
John Tissavary | colorist | owner
The Post Collective -
Without question, the single most important part of your system for Resolve is GPU. As powerful and many as you can stuff in the box.
If you’re laying off to tape then the Decklink is very important, but if you’re working primarily file-based then it’s really just for display output, so not the most critical piece of hardware.
JT
John Tissavary | colorist | owner
The Post Collective -
If you go DISK you cannot connect from other systems to that database. Each system will be an island unto itself. I just don’t see any advantage to that in a typical multi-user environment, but I suppose if you never need access to projects, galleries, power windows, users, etc… from one system to the other then it wouldn’t get in the way, but it’s pointlessly limiting, imho.
John Tissavary | colorist | owner
The Post Collective -
The VT50 is the higher end model. Not sure about the exact differences, but I believe there are some biggies – i’d recommend that one.
Panasonic BT300 (42 & 50 versions available) is the industrial / broadcast version geared towards our industry, I’ve used it quite a bit lately for grading, and can recommend it.
John Tissavary | colorist | owner
The Post Collective -
How about just being able to save a timeline with all of its contents – conform, grades (versions too, please), animation, render settings etc.
Timelines could then be used for versioning, something that is already a challenge in Resolve.
Also, it’s practically impossible to bring a timeline completely in tact from one project to another – you lose camera settings, version, and color trace is not always 100% perfect, the amount of qc that has to go on to ensure that every single clip has the right grade is monumental. I guess a little bit manageable for spots, but on a feature with 2000+ cuts not so much.
The data is there – if you can open a project and get the same grades, version, & animation you had the last time you open the project, then it should be less than trivial to do the same for a timeline.
John Tissavary | colorist | owner
The Post Collective -
Not meaning to come off like a Red fanboy, but I don’t get why anyone would choose the C300 over a Red One MX for any project.
Canon C300:
Super 35mm CMOS chip at 4k pixels but can only record to 1080p / 720p
50mbps MPEG-2 codec = a miserable travesty of a compression algorithm that introduces visible artifacts to even well exposed footage. It also plays back horribly Resolve, to the point where it has to be transcoded to something else prior to starting a grade.
8 bit file format
4.2.2 color sampling
$14999 street price (huh?!)Red One MX:
Slightly smaller than Super-35 CMOS 4k 2:1
Redcode wavelet compressed 4k raw at various compression levels
High speed capable at 3k & 2k
PL mount, with alternate mounts available
raw bayer sensor data, so no color undersampling like C300
$17k new (no longer available), $4000 pre-owned from REDHaving graded a lot of feature films & commercials shot on Red by everything from complete amateurs to some of the best DPs in the business, and having graded a little bit of C300 from one of those ‘best DPs in the business’, I can say that all else being equal, C300 footage is inferior in almost every way I can think of to Red One MX.
If you have a reason why the C300 is a better choice than Red One MX, I’d actually like to hear it.
JT
John Tissavary | colorist | owner
The Post Collective -
It is not broken, it works as expected. I posted earlier in this thread how to use reel IDs.
JT
John Tissavary | colorist | owner
The Post Collective -
If you want better performance in Resolve it’s pretty much always down to the GPU (cuda). Power windows fall into that category. In a macpro you can get a GTX570, which is a definite improvement. But you’ll really see an increase in performance with 580 or 680, unfortunately because of Apple’s design you cannot put these in the tower, have to get an expansion chassis.
You can also try ‘Use optimized display mode during playback’, that should improve playback speed considerably.
best,
JT
John Tissavary | colorist | owner
The Post Collective