[Pete Fausone]

8 bit solved it.
Thanks Juan,

I had it on 10 bit. It doesn’t just make playback better it fixes it entirely, like the on off switch for smooth playback. Since this old machine is just for conform this will do for now.
I can always make sure I’m on 10 bit if I render out a flat file for someone.

[Pete Fausone]

Yes, but because this machine is only for conform all it needs to do is playback decent.
I tried leaving the old ATI card in but the machine wouldn’t boot. Which slot would you use for the GTX760?
I have it in the lowest #1 slot right now.

[Pete Fausone]

These forums always tend to drift off the original topic, sorry I am just way frustrated with this.
Resolve shows my GTX760 as the GPU, and I have the latest CUDA that will install into ML 10.8.5
I am not in front of it right now but I will look for the list of cards in Resolve. I will do some more tests later today. I hope it’s not because I have a 3,1 Mac.
I have also tried BM 10.1.1 and 10.1.4 drivers.

Thanks

[Pete Fausone]

No my very fast fibre raid is just fine. Same exact ProRes clips playback effortlessly in every other software on my system.
It’s only Resolve that can’t.

[Pete Fausone]

The playback keeps stuttering and stoping for a second and never plays at full 23.98 frame rate.
The indicator is red mostly with a flash of green here and there.

[Pete Fausone]

So as per usual my question gets hijacked by people talking about something else entirely.
Does anyone have this setup working with Resolve 11?

MacPro 3,1
8-Core 14GB RAM
GTX 760 2GB
Decklink Extreme HD 3
OS Mountain Lion 10.8.5
BM 10.1.4

[Pete Fausone]

I don’t expect you to spend anymore time on this. The point is I don’t want to do anything but link the media offline timeline to the Alexa Prores4444 23.98 camera masters.
Then simply export the timeline to create a flat file. This is how I did many onlines over years with MC5. No consolidate or anything to waste time. Just assemble the camera originals and export out a flat file with the Avid effects baked in. In other words never make an mxf file. I am doing a simple uprez style online.
I think you’re test, which works fine for me also, is not apples to apples. I start with Alexa camera originals shot at 23.98, not 24fps. Maybe that’s what trips it up.
The dailies are mostly 2K 2048Xx1152 and the VFX are 1920×1080, all 23.98. So I really appreciate your help but at this point the top Avid engineers can’t solve this, so don’t waste any more of your time. I just posted cause I wanted to make sure I didn’t miss something obvious.

Thanks

[Pete Fausone]

Maybe it worked because it wasn’t a native codec in Avid as far as transcode etc. I linked to AMA Prores4444 and rendered Prores4444 out of 5.0.3 and 5.5.3 for the entire run of Warehouse 13 etc.etc. I have an entire raid full of shows with clips rendered from MC 5, all using Prores4444.
The computer has Prores from the Final Cut install and I guess Avid just got out of the way with MC5. You can “Send to Quicktime” and choose the Apple Prores4444 codec and use it to render a clip without any change. I wish I could get the MC6 bins to work in 5 at this point.

[Pete Fausone]

I’ve done all this and more. No matter what method I use the resulting export is soft. I am directly comparing it to the same clips exported from FCP7 and Resolve. The last show I did this on successfully was cut on MC 5.5.3. They have broken the Prores444 export in MC 6.5.4

[Pete Fausone]

I AMA link to Alexa Prores4444. I then export the timeline same as source just like you say. Then compared to the exact same process in FCP7, the file from Avid is soft. On a frame leader you can actually see the missing lines and bad edges in the text. The files can be compared in FCP or Quicktime, just switch between them and it’s obvious. The colorist at Fotokem first pointed this out on a high rez monitor. If you are working in 422 it might work as you say, but 444 is a no go. I wish it worked, this makes my online much harder and I wish I could get the quality I need straight out of the Avid.