[Joseph Owens]

Wondering what qualifies as “hating” 4K?

Going back to the old VHS vs. Betamax contest annoys me. How so? The question for me is – What is “4K?”

Consumer 3840 or Cinema 4096? Not much difference? Only when it comes to monitors, maybe, in a practical sense. I imagine that a lot of manufacturers will cheap out and go the VHS route — errr. 3840… errr H265?
Anyone wanting to go the “elite”, “professional” (in the dirty word sense) 4096 full RGB pathway will have to buy the $50,000 Canon / Dolby, etc., monitor. Geez, its like they don’t realize that film production is a popular cottage industry now, or something.

I am also interested in knowing if 4x the resolution of HD (if HD was ~4x the resolution of SD?) will render all of the current 1920×1080 catalog obsolete the way everything 720×480 now is.

So, actually have been working with “4K’ source files for a while now, really since RedOne, but interestingly enough no takers for final output at that resolution — overwhelmingly 1920×1080 delivery with a couple of “2K” features. Its a bit like shooting in 35 for a 16mm release. You do get that lovely depth of field, because obviously the one thing you really can’t fake with all the electronic bamboozling going on is the physics of lens optics. For that I like the big image area. As far as ‘crop-in’ to clean up scene issues — can someone help convince me that isn’t just being lazy with set discipline?

Latest release of DaVinci Resolve 10.1.3 seems to take care of deBayering at Full Quality quite nicely with a somewhat beefier GPU array on an older MacPro running Mountain Lion. Maybe stick in a new Blackmagic 4K card, but… something I am surely getting less interested in, by the minute, is blowing my retirement fund on more instantly-obsolete hardware.

jPo

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

[Joseph Owens]

Why would this thread not be posted in DaVinci Resolve Basics and Configuration?

jPo

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

[Joseph Owens]

A topic of some interest to me as it may be something I will have to implement at some point. One would think pointing to the source footage on a server would be more time and resource efficient.

In AVID terms, what you are looking to do with a “Media Manage” is a “Consolidate/Export with Media”, but not imbed the media in the AAF. This is what I have been doing for a couple of years now, but the main mitigating reason was that the source footage was Panasonic AVCHD for starters, which Resolve9 did not like. So it made sense to make a DnXHD project and move that around, which we’ve been doing via local ethernet. That said, you can consolidate and export AAF packages with or without media, but (but) I have always had more success with AAF round trips when I export my own AAF file out of a local instance of Media Composer or Symphony (on my workstation in the Grade Suite, rather than use the one the editor has exported, its just a thing).

There are some other advantages with that approach — its another backup, for example.

There isn’t much in the user manual about setting up shared source media —
The configuration guide has a couple of pages overviewing SAN solutions, and some advisories that you should be working with the storage provider to make sure you have an optimum data through-put situation. It is probably working through the Resolve database configuration to make sure that your SAN is deliberately part of the storage array.

If small projects do work… perhaps it is worthwhile trying to work up to a full-length project by creating “Acts” to see where the project-size horizon is.

One thing to definitely check is whether you could actually load the project successfully in your AVID NLE, whichever you have on your system for checking the round trip. You are doing that, right?

jPo

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

[Joseph Owens]

I’m fine with all of this, especially if Apple starts insisting on using Bitcoin as a universal medium of value exchange.

WHAT!!!! You aren’t already using this new paradigm? Dinosaur!!!!. The “gold-less” database management
foundation makes going broke so much faster, I feel like democratization is complete.

jPo

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

[Joseph Owens]

If you follow the orthodox installation, Slot 1 is where the software engineers want to see it. Its where most OS boots want to see it. If it isn’t the weakest GPU in your card mix, why isn’t it? Also assuming that you will be eventually installing more GPUs in the expansion box… be aware that sharing the buss will choke the GPU performance to the slowest card.

Evcen if you don’t use an expansion chassis, flipping the hierarchy between slots may start inspiring some flaky behaviour with the rest of your software complement, simply because applications need to re-think their internal routing. One of my machines has a Titan GTX in slot one because its a double-wide card (and of course it remains unconnected to any external monitors) with the GUI — a 4000, in Slot 2. It gets worse, because the Titan only runs under the Mountain LIon boot, and then if I flip back into Snow Leopard, sometimes the poor thing gets confused. And people want to flip the DVI cable into the slot 1 card… eventually you end up with a system that only you understand, like the messy office where ony you can find things…. and… then you can’t.

Personally, I hate going off the script. Improv usually gets you “Lost” in the southern IO.

jPo

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

[Joseph Owens]

Wondering if its related to the “codec not opened yet” circle of hell.

jPo

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

[Joseph Owens]

[Margus Voll] “I wonder if it is me or they just do not work still”

I know it has been explored, but …. in some ways I have to wonder why anyone would even want this to work, since it is “re-inventing the wheel” — there are so many strategies for replotting frame locations on a timeline employed by various software solutions. Even now, there is an option box for importing frame bases for example the “Final Cut 7” way… so do we need “the FCX way?” The “AVID” way? The “Premiere” way? The “Vegas” way? Or *the way that works* *everytime*, ie. render it out of the edit timeline, or Twixtor, or whatever and re-imbed it. Done.Bam. Some people like all that blurring and blending… If I need ultra sharp super-slo-mo, with X-spline acceleration trajectory, etc., good old SHAKE, believe it or not.

jPo

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

[Joseph Owens]

[Rick Post] “Does somebody know what is going wrong?”

The first obvious approach anyone who might try troubleshooting this sort of issue would be to examine the type of media, the robustness of the hardware support, how complex the grade is… in short, without any other details, it could be anything and everything.

jPo

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

[Joseph Owens]

[Adam Halasz] “I mean make Resolve 10 with the Easy DCP plugin enable to create a DCP with subtitles.”

And then you would have an $8000 DCP authoring application with a free colorgrade package.

jPo

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

[Joseph Owens]

Try Resolve Basics and Configuration forum.

jPo

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