[Joseph Owens]

[Perry Trest] ” I was under the impression that the GPUs don’t assist with debayering Red raw files.”

That’s correct. But if you’re doing color correction, GPUs are more important as most Correctors ignore the CPUs.

In any event, I’m still not convinced that a 12-core is much of an advantage over 8, and whether 16s ever come to the market is crystal-ball gazing.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

Two things:
1. Forget the 12 core. Its the GPU/CUDA core count that is important, which brings us to —
2. Forget the QuadroFX4000, its the lamest nVidia card you can buy for Resolve.

Get one of MacVidCards flashed 480s, and specify that its for a Cubix outboard installation.

Do not install slower cards in the Xpander, as the PCIe lanes run at the weakest-link speed.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[Roman Hankewycz] “I’m curious about what you said about copying the session on the Finder level. I’m only aware of duplicating projects via “save as,” how do you do it on the Finder level?”

Sometimes applications allow you to Find your projects and back them up here and there, and there is also an export function within Resolve. With Apple COLOR you could open the colorproj container and harvest it for parts like a recently deceased motorcyclist.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

Media Storage Volumes
In the Media Storage Volumes window select the ‘+’ (add) button to add a volume, folder, or mount point to the list of disk storage for your media. The first location in the storage list will become the default location for images, all proxies, cached files and gallery stills. This location should have plenty of storage capacity and be permanently connected to your Mac. Often this is the internal RAID you have established, but it can be an external drive too.

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

Just checking, but your RAIDs have been added to the Resolve database?

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

For starters:

Linked and Unlinked Grades in Multiple Sessions
By default, any clips that refer to the same file in the Media Pool are linked and share the same remote versions of grades that are applied to them. For example, two clips that are close-ups from the same take refer to the same media file, so they’re both automatically linked to one another and share the same remote grades.
This is also true for clips that appear in multiple sessions. Clips that are located in different sessions, but that refer to the same file in the media pool, are linked and share the same remote versions of grades. This is why you can grade one session, and then import a reedited version via EDL, AAF, or XML, and have the new session automatically inherit all of the grades from the previous session.
However, you can override this behavior to have one session that’s independently graded from the others. Simply select that session, open the Color page, right-click any clip in the Thumbnail timeline, and choose Batch Copy from the contextual menu. All grades are copied to Local Versions, and from that point on all changes you make to grades in that session have no effect on the other sessions in your project.
For more information about Local and Remote sections, see the Color chapter.

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

I assume you’re duplicating the session at the Finder level, and not necessarily using the “Save As…” dialogue from within Resolve, and that is why everything stays linked.

You could create a new session named something else, like “My Movie_Alternate Look”, which would use your current grade list as a starting point. Then you can add and subtract nodes and Local versions to your heart’s content, no need for ColorTrace.

You should then investigate Local/Remote Versions and Batch Unlinking, as an alternate approach to Master Timeline grouping.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

This is most likely a mismatch between the interpreted time code of the wav file and the sequence setting.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

A little bell is going off here, but there may also be some voodoo going on.

We just encountered a somewhat similar situation, where a graphic went jagged on export to DVD, and the difference turned out to be how the graphic was imbedded on the timeline. It was 1920×1080 originally, but being dropped onto a 720×486 timeline. It went jagged if the media was imported directly, but rendered smooth if it was left as a nested sequence referencing a 1920×1080 timeline. In other words poor FCP scaling.

In other news, I’ve also noticed that I’ve been getting fewer unexplained nonlinearities in transcode operations by “unrendering” the FCP sequence, then sending it to Compressor, which seems to operate under a different set of rules.

This all sort of points to the fundamental instability of Final Cut overall, and why Apple came to its conclusion about burning the old house down instead of trying to renovate the sad thing.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

Just ran the CUdaZ performance tests on my Q4000 system:

Host-to-device 5808 MiB/s, so not significantly different, however,

Single-precision Float processing is around 482 GFlop/sec, and Double is less than half of the Q4000’s own expectations at around 188 GFlop/sec, compared to the GTX480 (flashed) GPU statistics of 1338, and I see I must have mis-typed the Double precision rate for it, as 168 is not right, it was still right about half. (probably some kind of keyboard dyslexia and its probably more like 681…)

So, just using these raw numbers, flashed-480 appears to be about 3x the performance, but I can’t comment on how that translates wrt Resolve. Still, simply by the throttle numbers, the Q4000 PNY-Apple version appears to be WAY behind the flashed 480, (1/3 the Gflops) but 3 times the price.

jPo

You mean “Old Ben”? Ben Kenobi?