[Rick Lang]

Thanks, Juan. You’re probably right. I guess I was hoping the conversion to CineformRAW would be a utility priced separately from GoPro’s edit software. But I notice others also assume it will require one to license their own editor. Fair enough.

Rick Lang

iMac 27” 2.8GHz i7 16GB

[Rick Lang]

Juan, thinking about the large size of the CinemaDNG files and based on comments in this thread:
https://www.bmcuser.com/showthread.php?82-Shooting-RAW-or-10-bit-4-2-2-Compressed/page11

Specifically:
[2012-05-04] 12:10 PM
“Originally Posted by Note Suwanchote
i haven’t checked this but we could shoot in uncompressed dng and convert to cineform raw?
We are enabling that workflow. You can do it today will a shell to batch CinemaDNG files, but we are making it much easier.

[2012-05-04] 05:09 PM
CineForm RAW encoding is already faster than the SSD I/O, no GPU acceleration required.

David Newman
Sr. Dir. Software Eng. GoPro (a.k.a CTO, CineForm)”

I’m thinking this might be a reasonable workflow for those who want to save space:

Blackmagic Cinema Camera using CinemaRAW
-> convert to Cineform RAW using some utility or plug-ins to be supplied by GoPro
-> use the Cineform RAW in DaVinci Resolve for quick grade for dailies
-> render 709 for FCPX for final edit using a ProRes proxy
-> XML from FCPX back to Resolve for conform and final grade using Cineform RAW files
-> render desired final forms for distribution.

One user on BMCuser suggested BlackMagic Design should record to Cineform RAW directly since it’s lossless. This viability of this proposed workflow also assumes the metadata will be kept throughout the various steps.

Rick Lang

iMac 27” 2.8GHz i7 16GB

[Rick Lang]

Nice work It may be an option in a couple of years although more likely that the Thunderbolt TV will not be the way this is implemented as Apple’s TV may receive it’s data wirelessly from a very high speed wireless (WiFi?) network. Certainly a current Thunderbolt daisy-chain won’t drive a large Raid drive and two high resolution monitors and a 4K TV on one TB port. But with future generation fiber optic TB cables, who knows? If I remember correctly, the theoretical speeds of Thunderbolt are 100 Gbps, ten times the current first generation copper or fibre optic implementation.

Rick Lang

iMac 27” 2.8GHz i7 16GB

[Rick Lang]

[Pat Horridge] “But is there a list of exactly whats supported in an Avid AAF?”

i think our knowledge of the Avid AAF and FCPX XML colour correction support details (and any gotchas) will wait for the final release of DaVinci Resolve 9.0 software and the manual that we’ll need to read. So many videos to watch from NAB on this camera so understandable it’s difficult to catch everything now!

8^)

Rick Lang

iMac 27” 2.8GHz i7 16GB

[Rick Lang]

[Pat Horridge] “Can Resolve read and understand an FCPX or Avid color correction effect? No point baking them in by rendering if you then link the sequence back to the RAW media.”

Pat, does this answer your question? From
https://www.blackmagic-design.com/products/davinciresolve/workflow/

Multi track XML Support
Move your projects between your favorite NLE software and DaVinci Resolve and add professional color correction to your edit! DaVinci can be used on set, to grade shots before the edit, or after to grade and re-render the final master in a deeper bit depth. DaVinci supports XML import and export from Final Cut Pro X and any color grades in Final Cut Pro become DaVinci grades once imported. DaVinci Resolve also supports Final Cut Pro 7, Adobe Premiere Pro and also Avid AAF!

Rick Lang

iMac 27” 2.8GHz i7 16GB

[Rick Lang]

[Juan Salvo] ”( don’t think the triple channel optimization is so much a product of hardware, as it is software. I”

The reference to memory in the 8,2 Configuration Guide specifies 6, 12 or 24 GB for memory optimization (not 8, 16 or 32 GB). I’m confidant this is because the memory controller in the hardware uses triple-channel access for the most efficient access to the DIMMs. It’s not related to any 32-bit processor limitation that will go away when the DaVinci Resolve software runs in 64-bit mode. I’ve looked on ark.intel.com to try to find a nice summary of memory access but haven’t been able to find anything succinct for the Mac Pro as I downloaded when I bought my iMac in late 2009. The iMac is only dual-access, but there is a great discussion about multi-channel memory access in the (iMac’s) i7-800 intel data sheet. My prior post should still be accurate. Currently 48 GB could work in triple-channel access on a 12-core Mac Pro using 6 8 GB DIMMs but if 64 GB is installed, it will be dual-channel access and not recommended by Blackmagic.

Rick Lang

iMac 27” 2.8GHz i7 16GB

[Rick Lang]

If you are referring to the triple-channel access to memory, this is not altered by the application software being 64-bit. So a 12/24/48GB memory configuration will still provide the fastest access to all the memory. Of course you can still load and use 64GB but the access may revert to dual- channel. That may not be a bad thing if you really need to use the extra 16GB since having the extra RAM reduces the need to use virtual memory and swapping pages into real memory as required. I can’t recalled the actual memory degradation when running in dual-channel mode but I saw BareFeats benchmarks years ago that demonstrated the hit was quite small in terms of overall performance. I suppose you could try 48GB and if that seems to be all your system typically needs, then stop there. If you find it frequently swapping pages, consider adding the extra 16GB and reducing your swaps.

Let me know if you have any supplementary questions in case this isn’t clear.

Rick Lang

iMac 27” 2.8GHz i7 16GB

[Rick Lang]

Additional hardware required by Ultrascope software: in July, the Blackmagic Cinema Camera can be added to the list of Ultrascope hardware driving the software on a Mac.
8^)

Rick Lang

iMac 27” 2.8GHz i7 16GB

[Rick Lang]

Juan, apparently it is designed for this kind of work! Cinema Camera RAW
-> log with Media Express
-> Resolve for quick edit for dailies
-> render 709 for FCPX for final edit using a ProRes proxy
-> XML back to Resolve for conform and final grade using RAW
-> render desired final forms for distribution.

Thanks for the help! Perhaps release 9.0 will assist or simplify the actual steps required but will still follow this approach.

Rick Lang

iMac 27” 2.8GHz i7 16GB

[Rick Lang]

Thank you for your answer. At least that’s one feasible and reasonable approach if the NLE doesn’t provide native access. And relying on DaVinci Resolve and Media Express will ensure compatibility.

Rick Lang

iMac 27” 2.8GHz i7 16GB