[Joseph Owens]

[Dimitris Panagopoulos] ” if i want to work with 4K RAW uncompressed 10bit i need a quadro”

Resolve would be the outstanding exception to this widespread perception. If you are monitoring operations within the UI, there are a number of applications that require the GPU to support 10-bit output. Resolve’s managed color output is implemented through display hardware — they have a number of qualified products, on-board, and outboard, starting with their Decklink line. There are some limited options for using the UI preview as a pseudo-grade reference — it takes extreme care and no small expense to set this up (calibrate and configure) to make this viable.

jPo, CSI

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

I you don’t have time to make a BluRay, you really don’t have time to make a DCP… and export it, and test it…

jPo, CSI

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

Its usually a higher line of cameras and of course the “full” panels.

jPo, CSI

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

[Enno Jacobsen] “Specifically, if I do a quick and rough grade in Resolve 14 and then send it to a colorist to really get to work on it”

There may be some things about it that 12.5 won’t be able to cope with. If you are simply doing some RGB spot correction, why not just do it in 12?

jPo, CSI

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

KDM refers to the certificates necessary to provide authorization to decode the DCP if it is encrypted. Most free DCP authoring packages don’t offer this option. If its a one-off presentation it likely doesn’t need to be encrypted — its a layer of complication you likely don’t need…. and it gets complex because you need to get certificates from the theatre for its server and then authorize showings, &c., &tc.

jPo, CSI

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

[Adriano Castaldini] “Anyway, once obtained the DCP folder, how to play it on Mac?”

You need player software, the DCP is not decipherable by Quicktime or many other container decoders. For one, it needs to be able to unpack the CPL and PKL XML files. DO NOT attempt to edit the DCP in any way. Even the name is encoded in such a way that it is keyed to the internal integrity of the package.

Glad you got what you needed on the BMD Resolve website.

I don’t know of any free players. Personally, I use the Fraunhofer easyDCP plugin for Resolve.

jPo, CSI

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

[Michael Gissing] ” Cinemas are a technical dogs breakfast so ask.”

Completely correct.

If this is a one-off, approach the cinema manager directly; if they have a one-sheet of acceptable formats, then comply with that and pick the best solution. You may be able to deliver in something other than a DCP — H.264, ProRes, BluRay, these are all options that producers are not necessarily aware of, but ask for anyway, something along the line of “Just give it to me on a “Hard Drive.” Give what to you? “A Quicktime.”

1920×1080 will work, 1998 is a format, 2048 is a format. Pick your pillarbox.

Some theatre servers have issues reconciling frame rate and SMPTE vs. InterOp protocols.

Test, test, test, test… and then test it again. It will fail somewhere for some reason and usually for different reasons in different circumstances.

jPo, CSI

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

[Tyler Granlund] “I do not have a dual boot. Just want to do it on a single boot OS X system”

Dual Boot is how you do it. Otherwise install on a separate system.

jPo, CSI

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

[Kevin Wong] “The mobo I’m using can support dual cards at full capacity”

If that means some implementation of SLI, you’re not on the right track. Irrelevant to Resolve.

But two are better than one. Resolve Studio will use every resource it can find.

jPo, CSI

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

[Tom Matthies] “Not my monkeys. Not my circus.”

Asleep in the poppy field?

This issue is not settled.

Going forward, my impression is that (conceptually) the “paid” version of Resolve will cost $299US or whatever, and it carries forward in some way that resembles the current dongle-controlled Studio version. How current licensees convert their seat(s) to R14, cancel the dongle requirement, and then remain Studio-entitled is not clear.

There may be others, but I have grown quite accustomed to carrying the license with me if I need to work in a remote environment, control the future of the project, and who can modify it. It seems counter to the intent of the overall disruptive distribution model to seed the market with a very portable access control (the dongle) and then turn around and conceivably confine the installation to a SysID-licensed single computer. I don’t see many other ways, though, to confirm ownership.

jPo, CSI

“I always pass on free advice — its never of any use to me” Oscar Wilde.