Mike Most
Forum Replies Created
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Well, if you want to do what you say on a Mac platform, I’d recommend a Mac Pro. Neither the iMac nor a laptop is going to do what you want to do at the speed you probably expect. You need a computer with PCIe expansion capabilities, and therefore the capability of housing GPU cards running at full speed. That means either a PC or a Mac Pro.
There is no “uncertainty” with regard to NVidia GPU cards with the Mac Pro. Using NVidia’s latest drivers, all NVidia cards work just fine, including cards like the GTX580 series that were previously PC-only.
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This may sound a bit out of left field, but check the Filtering setting under Video Monitoring on the Config page. If it’s on anything other than Basic, try changing it to Basic and see if the problem persists. What you describe has been known to happen with Bilinear filtering. It’s a pretty obscure setting, and the issue is content dependent.
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Are you talking about playback in the window in the GUI?
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It’s pretty darned easy to just edit the EDL in any text editor and remove the lines with Black edits…..
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That is no longer the case and hasn’t been the case for at least 6 months. As of version 8.1 (Resolve is now at 8.2) Avid MXF support is included in the base product, as well as the free Lite version.
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Well, I would also point out that what the original post is describing is a real time compositing system that can composite more than 20 layers of HD footage in real time, as well as storage and a processing bus that can support approximately 8 GB per second, or the equivalent of about 7 real time streams of uncompressed 4K images. I don’t know of any current technology that can do that, and you certainly aren’t going to get it on a desktop with one GPU card.
Today’s technology is very advanced and capable, but we’re not the Jetsons quite yet.
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It sounds to me like your hardware choice is severely underpowered for what you’re trying to do. If you really want to drag that many elements in a color correction system, you need a hell of a lot more power than you’re going to get on a Mac based system. If Resolve is a program you want to use for this, I would strongly suggest looking at the Linux systems, which have a lot more expansion capabilities than either a Mac or Windows system can offer (which is one of the main reasons Blackmagic is continuing to make and support them). What you’re talking about doing really requires a lot of horsepower. Other systems that would probably accomplish what you’re talking about are things like Quantel Pablo and Baselight 8. Both of those cost about $300K. If you want to do what you’re talking about on a simple desktop solution, the price you’re going to pay is the price you’re paying, which is very, very slow performance.
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If you’re making MXF files in Resolve, there is no “import.” Put them in the right place (Avid MediaFiles/MXF/numbered folder), let Avid scan the drive, and drag the .mdb file into a new bin. It’s only if you make DNx encoded Quicktime movies that you need to go through an import process.
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If you want to make Avid MXF files, you can use Resolve Lite. It’s free.
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Phantom .cine files don’t actually have timecode. Some programs – including Assimilate Scratch, Gluetools’ PhantomCine software, and others – use the time stamp of the file (i.e., the creation time) as a time code start frame and calculate from there, but it’s not a universal convention. I don’t really know what Resolve does as I haven’t really had to deal with Phantom footage on Resolve recently, but your problem could easily happen depending on how each piece of software involved “creates” time code for these files. This would almost definitely be the case if you were opening copies of the file that are now on different drives with different creation times.