Michael Gissing
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Very interesting comparison. Thanks Oliver.
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I had that impression too Oliver. BM and Apple have been best buds. Resolve was always first off the block when Apple changed their fcpxml format. BM cameras record many ProRes codecs except for RAW. Maybe the NLE developments in Resolve are starting to smart.
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[Bob Zellin]”Anyway, they are one of my only ALL Davinci Resolve clients now, and this happened only because of the Panasonic EVA1. ”
I wonder if they are disappointed that Resolve doesn’t handle ProResRAW. Grant Petty seemed a bit dismissive of the codec and it currently requires an external recorder so at this stage not a big deal. But I don’t get the impression other NLEs are rushing into ProRes RAW or is this an Apple issue trying to leverage an advantage for X by withholding it?
I really like the look of this camera and the dual ISO is a great idea. Interesting to hear Resolve works well with the onboard codecs. I would love a real world comparison of different compressed RAW codecs and baked codecs like ProRes and DNx but until there is a camera that can capture 15+stops that can also record a range of RAW and baked codecs to have that direct comparison its hard to know if this codec has any specific advantages other than file size compared to current 4:1 cDNG. The BM Ursa mini is able to do cDNG RAW at different levels of compression or uncompressed and ProRes/ DNx varieties onboard so it might be the first camera to offer that way of comparison that removes the camera variables if and when they offer ProResRAW onboard.
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As I suspected two 2080ti for around the price of the Quadro 5000. I’m keen to find out if Resolve will be able to use the new card linking bridge that replaces SLI.
With the cards on pre order we shouldn’t have to wait too long for some real world benchmarks and feedback for video editing. I might be doing my next big rebuild around Christmas.
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[Bill Davis]”I just posted this link so people could finally SEE how the new RAW Codec looks in an early practical application. ”
Without a comparison to the same shots on the same camera using different codecs there is nothing to see in a Vimeo clip which is no doubt 8bit h264. You are seeing lighting and lens/ sensor look but the codec should be transparent to the process.
If the codec has a look I would be mortified.
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Fusion dongle/ license is different to Resolve dongle /license so your Resolve dongle doesn’t unlock Fusion Studio. Standalone Fusion, both free and paid for are more fully featured than the version inside Resolve 15. Also Blackmagic have said they intend to keep the standalone and with additional features so that will remain the case unless they change their mind. Maybe the free Fusion might disappear over time but that is pure speculation on my part.
One feature of the Fusion Studio standalone with dongle is on WIN PCs it can create Apple endorsed ProRes files. That is not available in Resolve Studio on PC although I would like that to be the case.
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Given ProRes RAW is a compressed RAW codec, it only makes sense to compare data size on the basis of any RAW codec’s compression ration. RED codecs offer a range of compression ratios that would make for smaller file sizes than ProRes RAW. For cDNG 4:1 compressed is not very different to ProRes RAW for data, so their claim that shooting on RED they ‘expected’ to shoot 4TB per day is a nonsense. They could have chosen to shoot less data than ProRes RAW if they wanted to.
So the main advantage seems to be not transcoding in one the NLE that supports ProRes RAW (so far). However RED have just throw a switch in their codec that allows GPU debayering so RT in all NLEs using r3ds is set to improve without requiring a RedRocket card anymore. This means transcoding of RED files may be a thing of the past. https://www.redsharknews.com/technology/item/5723-red-uses-nvidia%E2%80%99s-new-turing-architecture-for-realtime-8k
Until ProRes RAW is implemented in cameras, NLEs and finishing tools, I don’t see any point in recommending my clients consider this codec yet.
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I have to ask Don, why do you ask? Is it that X although doing what you want and need and is favored over Pr is not in your longer term plans?
The simple solution is to download the free Resolve which does almost everything and use it. 15 release is out so start by cutting in X and exporting via xml to Resolve to grade and perhaps do titles, GFX, audio post and final delivery. You will then get a feel for the program and the edit page is always there to play with.
For me Resolve is my tool of choice as I do post finish not original edit but when I need to edit I find it not only capable but familiar which is a very important thing. Coming from X you might not like it as it is much more Legend, Premiere, Avid like.
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My guess is your default 4k timeline was not set to Rec 709. I suggest you check the color space settings on your default timeline. But you also need to go to Photoshop and see what settings you have for the image outputs as well for the future so there is not a mismatch that your workaround may have temporarily fixed for rec 709 only.
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I’m getting deja vu
https://forums.creativecow.net/readpost/335/102368