Tero Ahlfors
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[Phil Lister] “I realize that this is probably a topic that many are tired of, but I’d really like to know why there’s so much color banding on video.”
One usually has a bunch of banding when shooting smooth gradients in an 8-bit format for example a clear sky. Bigger productions are being shot with better cameras with people who are professionals.
The computer that the project is being edited on has nothing to do with banding.
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Video files have their own kind metadata and it’s used if it is supported. These usually cover timecode, reel name and possible RAW settings. There are formats that have additional metadata that only show up in their manufacturers proprietary software eg. Sony does this a lot.
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Get an I/O device and a reference monitor. Then calibrate the monitor to a standard like rec709. Whatever you see on the reference monitor will be in rec709 and you don’t have to deal with what the OS or the GPU is probably doing to the colours under the hood.
There are different systems but I use Lightspace: https://www.lightillusion.com/lut_calibration_idiots_guide.html
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Have you tried looking at some standard setup image like color bars on your monitors? How do they look? You can generate those in Premiere.
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It’ll probably look great on an SD TV… That no one has anymore. When you’re doing DVDs you’re dealing with a format that is pretty restricted (you just can’t bump up the bitrate because the max is specced in the format) and what you’re seeing with your color boxes and text is probably being hit with chroma subsampling issues: https://en.wikipedia.org/wiki/Chroma_subsampling
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Or use the project manager to collect your footage from a sequence.
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You don’t need a Quadro but you will need a GPU with lots of memory to actually do anything in Resolve. You can’t do anything with 4K footage with 2 gigs of VRAM. I would recommend a GTX 1080 which is fairly cheap and pretty powerful.
Also a 10 bit viewer in the software doesn’t matter because you should be using a Blackmagic I/O device (like a Mini Monitor) for monitoring.
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[Bernd Hauser] “Isn’t this a very powerful system”
Not really. You should try transcoding the H264 files to DNxHR or Prores.
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Mocha can track planar surfaces and if/when you get a good track you’ll just have to eyeball the screen size if there is no frame where the screen is fully in view.