[Marc Wielage]

Do you have an external device to drive the external monitor? You’ll need one of the Blackmagic monitoring devices in order to make this work. The Mini-Monitor is the least-costly way to do this, and they do have a Thunderbolt version that works well with the Trashcan Mac.

[Marc Wielage]

[nicolas horne] “i’ll read up on the master / local / remote grading, but could i just quickly ask if the mode can be changed after a project is done?”
Yes, this is one thing you can change after the project has started or even after it’s completed.

[Marc Wielage]

[Rhys Sherring] “So you believe there would possibly be a loss of various image qualities shooting in HD as opposed to 4k with the Blackmagic 4K since the camera is purpose built to primarily accommodate 4K shooting? I’ve not heard this thought before. I guess it would make sense. “
Yes, that is true for a lot of 4K/5K/6K cameras. It’s not a problem if you choose to shoot in 4K and then immediately transcode to HD, then use the HD material for the edit and for final color correction.

[Marc Wielage]

I think the most reasonable answer is “just spend the money and buy the full version.”

[Marc Wielage]

[Rhys Sherring] “So I shot some stuff in 4K over the weekend using a blackmagic 4K camera and I’m trying to learn about proxys. So I did a test of importing 4k footage to Resolve, exporting individual clips in low res, importing those to premiere, doing an edit, exporting an AAF, and was successful in getting the cut imported to Resolve. If I did a full edit in premiere, with dynamic links of clips edited in After Effects and audio edits in Audition, would the AAF bring all of that information into resolve alright? “
It depends, but generally no. Speed changes don’t always survive the transition, and repositions can work but not always. Actual visual effects have to be done outside Resolve and then cut back in as part of the conforming process.

[Rhys Sherring] “Another qusetion: later in the year I’m shooting a short film, but I’m just going to be shooting in HD because 4K would just be unnecessary. If I do the full edit in Premiere, what process would I go through to get the final cut into Resolve just to use it’s colour correcting? Would I do the final export from there as well? “
I would advise you to shoot in 4K and then do your decision-making (offline) cut in HD to save overhead, and then export an XML or AAF into Resolve and reconform from the original 4K files for the final. Some cameras (maybe even “most” cameras) only use a small part of the chip in HD, which changes focal lengths and creates a lot of issues. You’re generally better off shooting in 4K and then transcoding later for the edit.

Workflow gets very complex and tricky for projects like this, and you would be well-served by doing a Google search or reading many past discussions on issues like that here. Bear in mind it’s also possible to edit completely in Resolve. With each version, I think Resolve gets closer and closer to being a complete finishing program, and 12.5 has definitely gone in that direction.

[Marc Wielage]

Last time I checked, there were quite a few Resolve Studio dongles for sale under $500 on eBay.

[Marc Wielage]

[Glenn Sakatch] “Unfortunately, when there isn’t any production workflow discussion before the shoot happens, the post guy ends up paying…(hopefully through a clients wallet)”
This is sadly true. And in production, the crap generally rolls down hill and winds up in post’s lap. Particularly with sync issues.

[Marc Wielage]

It won’t improve the 422 footage at all, but it wouldn’t hurt it, either. It’s kind of like putting 5 gallons of water in a 10-gallon bucket: the water itself won’t change. As long as it’s 10-bit and you have the range to make the changes you need to make, it can work. 422HQ does have less compression.

[Marc Wielage]

ProRes is not lossless, but some of the codecs are good enough you won’t see anything happening (say) 4-5 generations down. ProRes 444 is very good.

[Marc Wielage]

[Joseph Owens] “”Color temperature” controls (in reality a “mired shift” slider because there is no whitepoint definition) is a new feature of Resolve 12.5 which can be used to modify the cyan/amber color balance in a clip.”
Very true. It’s not the same as the temp control within (say) a Red Raw file or an Alexa Raw file.