[Uli Plank]

Great workaround, thanks!

Director of the Institute of Media Research (IMF) at Braunschweig University of Arts

[Uli Plank]

Did you try QtChange (donationware) to assign TC and reel names to the 5D footage?

Director of the Institute of Media Research (IMF) at Braunschweig University of Arts

[Uli Plank]

I don’t believe that’s how BM is thinking. They are probably expecting very low numbers of sales for the big panels just like for the Linux version, and low numbers equal high prices in modern production.

The Mac version will be selling in high volume, and even the supported Wave is not yet very well supported. BM already promised to improve that, and the Mac port needs some final touches too, as we all know. So, the explanation might just be limited human resources.

We can, of course, make up conspiracy theories about Avid not supporting BM in MC5, so BM is not supporting the panels Avid bought…

Director of the Institute of Media Research (IMF) at Braunschweig University of Arts

[Uli Plank]

I don’t think so, and you’ll draw a lot of power and generate unnecessary heat.

Director of the Institute of Media Research (IMF) at Braunschweig University of Arts

[Uli Plank]

Why not Boris AAF transfer? Quite a bit cheaper.

Director of the Institute of Media Research (IMF) at Braunschweig University of Arts

[Uli Plank]

Yes, very helpful little app.

Director of the Institute of Media Research (IMF) at Braunschweig University of Arts

[Uli Plank]

I second most of what’s been said.

One caveat, though: if you tend to work with many video tracks in FCP, you’ll need to change your style. You’ll need to collapse everything into one track before going into Resolve.

Apart from that, only positive experiences:

Multiple version of the edit oder grades? No problem, easy to handle.

Scaling, cropping or even rotating: excellent quality!

Interlaced footage? No problem!

Director of the Institute of Media Research (IMF) at Braunschweig University of Arts

[Uli Plank]

We are using several Dreamcolors here. They need strictly RGB progressive to work in calibrated mode, that’s what we use the HDP2 for. Ours are calibrated with the HP probe (actually it’s an x-Rite, but tied to their software).

This setup works perfectly well with a Blackmagic SDI card, which can deliver 10 bit (the Dreamcolor is capable of 10 bit). I’m not sure if the Display Port can transport 10 bit, so you may give away some quality.

Calibration with the probe is much more precise than eyeballing. For film we use the DCI simulation, which is not 100%, but close enough (the Dreamcolor has slightly less color space than the expensive monitors normally used for that). For the web we don’t care at all, everybody sees their own colors anyway, since there’s no standard of any kind. You can use Rec. 709 as well, since it’s close to sRGB.

Can’t comment on newer cards, we are happy with our GTX 286.

Director of the Institute of Media Research (IMF) at Braunschweig University of Arts

[Uli Plank]

I tested both. You loose around one third of the performance by using the main GPU for display too.

Director of the Institute of Media Research (IMF) at Braunschweig University of Arts

[Uli Plank]

GUI.

And things get really tight if you want to add a Red Rocket.

Director of the Institute of Media Research (IMF) at Braunschweig University of Arts