Ola Haldor voll
Forum Replies Created
-
Well, unhook the monitors. See what happens.
Oh, and are you connecting those GPUs using SLI connectors? Don’t do that.
-
Is it Lite or licensed?
-
RED is not decoded in the GPU, so a “slideshow” isn’t really unexpected unless you’ve got a rocket or a couple of kick ass CPUs.
What CPU do you have installed?
-
If they have the hardware for it, install Resolve Lite and show them what you can do in the same amount of time. If you have a control surface – even better! You’ll be done in no time.
Heck. Show them the video of Dan demoing Resolve 8.
-
Did you read what we suggested? It doesn’t look like the bottleneck is the GPU. It’s most probably the CPU and/or hard drives you read/write to.
-
As I interpret this – yes.
-
I can’t imagine your computer isn’t utilizing the GPU. The manual clearly states
DaVinci Resolve uses GPUs for image processing, so the GPU status indicates the percentage of use that the current color correction demands of the GPU. A full green indication shows there is plenty of GPU headroom. As the GPU processing resources are used by additional color correction the green bars will reduce. A flashing red indication means that the GPU is unable to consistently process the correction in real time.
The fact that you can play the video means things are working as they should. During rendering, its perfectly normal that performance goes down. This is due to the writing speed of your hard drives and how powerful the CPU is, which, if I’m not mistaken, is responsible for moving data and writing it to the HDD.
But then again, this is a BETA. Things will break. So report it to davincihelp@blackmagic-design.com anyway.
And not least, this is on a totally new platform for DaVinci Resolve. It will take a little time until things are perfectly normal. The problem is that there are thousands of different configuration possibilities. BMD can only support so much, and that’s the reason they have put a few high-end systems in their conig guide – because they know they can do the job properly.
It would be helpful to know what read/write speeds you’re getting. Use BMDs own speed check and tell us the numbers you get on the different drives you use for media/rendering.
-
Good to see someone can enjoy it.
The reason I’m not happy about the viewing angle is because I need to be able to have clients watching the same monitor. In the long run, I’m planning to install a 42″ or 50″ on the wall for clients to sit at a distance, relaxed in a sofa, with their Air and Etiopian espresso from the coffee shop across the street.
-
I had the very same experience. OLEDis just a bit early to release to the masses in my opinion. It’s a nice monitor, I mean, it comes I. A really rugged and nice chassis. But the picture wasn’t to my liking.
Either I’m vision impaired or the monitor lips the blacks long before the scopes do. No matter howi tried to adjust the monitor to look right, I lost the blacks too early. Or have we all been color correcting totally wrong?….
The viewing angle was horrible. I tested this simply by putting myself in the client chair. The whole image kept the saturation and luma really good. As it was a window to the busy city outside. But the hue shift was so extreme one wouldn’t know whether the image was graded or not. It was almost like a day for night look, just by shifting from my position (dead on) and slightly to the right.
I returned it with happiness, yet I was disappointed this technology is so hyped it made me believe I could get away with a cheaper monitor.
-
Words of wisdom, everyone. Thanks, Joseph.
I’ve never had anyone else complain on my jobs earlier, so it hit me as a big shock when this client said “we’re peaking above legal levels – do something about it asap!”
It strikes me they either don’t know what they’re looking for and they want to be super safe on behalf of their customer – the TV channel.
Or, they’re on to something I cannot seem to understand.
I still think it’s weird that rendered ProRes422 files have this fuzziness, while playback from Resolve is flawless. It doesn’t matter if I monitor the rendered files in FCP, Mediaexpress or Premiere. It’s all the same. Fuzzy highs.