[Steve Mullen]

Thank you.

[Steve Mullen]

Curious, did you also use the Windows UNINSTALL control panel before trying to install a new version? If you did, I wonder why the Registry wasn’t cleaned.

[Steve Mullen]

You posted, “When a source clip at a higher resolution is introduced to a timeline at a lower resolution, it does not affect the source clip’s resolution — in your case, it will always be a “4K” clip <> for proper display on a “1080” timeline …”

1) With UHD h.264, is Resolve’s decoder able to decode only a 1920×1080 window from a UHD frame while playing, or does it decode the entire UHD frame and then downscale it to FHD for display?

2) If the full frame must be decoded, then we can use the option to Optimize at various frame-sizes. Choosing 1/4 provides 1080p in the Timeline. Of course it takes time to Optimize.

3) A more fundamental question — with 4K FS5 footage FCPX is able to real-time play clips without their having been converted to Proxy or Optimized to ProRes. Premiere Pro can do the same with Canon C300 II 4K footage. These format’s simply play.

Yet on the same machine (with CUDA) when you bring these kinds of footage into the Resolve they do not play well. Stutters and garbled audio are the norm. Can you, or anyone, explain what is different about the h.264 decoder used by Resolve?

My thought is that although Resolve uses the general compute power of a GPU, it doesn’t use the h.264 hardware decoder that all modern GPUs contain.

[Steve Mullen]

I used this when I taught Media 100 at Harvestworks in NYC. Many Media Composer editors were blown away by how much faster they could edit on the Media 100!

Of course, back then we did FX with AE. (Why I don’t want to bother with Boris.)

Today one can also use AE to import CinemaDNG clips, grade, and export as ProRes.

Below the opening of my book:

imMEDIAte 100© Copyright 2002

by Steve Mullen

ImMEDIAte 100 has been designed to enable a video editor who is familiar with nonlinear, online editing concepts to quickly learn to edit using a Media 100. It assumes the editor has extensive Mac experience. It also assumes the Media 100 version 4.0 (or later) has already been installed on a Mac, an appropriate VCR has been connected, and you have been given a hands-on tour of the Media 100 human interface. After an introduction to the Media 100, each subsequent imMEDIAte 100 lesson provides information on how to perform a specific editing task.

[Steve Mullen]

I know it has a 60 day trial.

But, like Resolve, Media100 is most likely going to be an “extra” NLE that one will explore over time. I spent almost a year working my way through Resolve before I came to trust it.

I knew John when I worked at Data Translation and you could say I wrote the book on Media 100 (e.g., Immediate100). But that was 25-years ago and I have no memory sense of M100. So by the time I found a time-slot to start using my 60-day trial, it was over. This also scuttled a review of Media 100 I had planned — although it’s not clear DV would consider one.

Today “free” is the way products are brought to market, e.g., LightPost and Resolve) is via a free version.

[Steve Mullen]

While the $100 price is great, for those of us that used the first version of Media 100 and have zero need to use Boris — because we tend to be cutters and not FX folks — it would be great if there was a free version of Media 100 (like Resolve Lite) with a $100 upgrade needed only to activate Boris.

Am I correct that there are no H.264-based codecs?