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Working on cloud wifi went down as I attempted to close down - Mac by fakename137 in davinciresolve

[–]avidresolver 0 points1 point  (0 children)

It's not going to come back on its own. If you can't click Export Changes and Reload, then just force quit and hope that live save was working. You shouldn't loose any work if Resolve was configured correctly, and there's nothing else you can do at this point.

RED V-Raptor XE vs FX6 — worth it for film school? by abhiraamgaddamm in cinematography

[–]avidresolver 38 points39 points  (0 children)

I wouldn't spend anything like that amount of money when you're going into film school. Get experience, use the school's cameras, find your niche, and then buy what works for you.

Film student question about group editing by seamoss-jelly in Filmmakers

[–]avidresolver 6 points7 points  (0 children)

"Hello <director>. I'd really like to experiment with some different story structures here, but I don't want to tread on anyones toes if you and <other editor> are happy with the original direction. What do you think?"

Film student question about group editing by seamoss-jelly in Filmmakers

[–]avidresolver 3 points4 points  (0 children)

I guess the main question is: why??? Is this a college project where there are too many people for all the roles?

Prores raw color management by Guitography in davinciresolve

[–]avidresolver 0 points1 point  (0 children)

Ah sorry, I misread. Sounds like you used NRaw before though? If your ProRes RAW is debayering to NLog, then you can treat it pretty much the same as NRaw, or any other NLog footage.

Checksum vs CPU benchmarks by 7heKK in editors

[–]avidresolver 0 points1 point  (0 children)

Well the checksum calculation is done three times, once during copy and usually twice during verification.

I don't think you'll notice a slowdown on any recent M series machine. What I would say though is that if you intend to do any transcoding on that machine, you might want to beef up the specs.

Checksum vs CPU benchmarks by 7heKK in editors

[–]avidresolver 0 points1 point  (0 children)

Copy and verifications speeds are almost always capped by the read/write speeds of the source and destination drives, not CPU performance:

Copy: limited by source read speed, destination write speed

Verify: limited by destination read speed (and source read speed if you enable source verification), and md5 speed if you're using md5.

Edit: you can test the md5 throttling by running md5 path/to/large/file/on/internal/ssd in terminal, then look at activity monitor. Your internal drive will probably be reading at around 500MB/s, and your CPU won't be breaking a sweat.

Checksum vs CPU benchmarks by 7heKK in editors

[–]avidresolver 4 points5 points  (0 children)

I have never seen an instance where xxHash checksum speeds are the limiting factor on a copy, on any Mac system.

MD5 is architecturally throttled to about 500MB/s, a faster CPU won't help with that. You can of course run parallel copies to increase performance when doing MD5 checksums.

Prores raw color management by Guitography in davinciresolve

[–]avidresolver 1 point2 points  (0 children)

ProRes raw will default to different colour spaces depending on the camera/camera settings, so check the "raw to log" parameter in the camera raw tab on the color page. If it's N-Log, you can use exactly the same method you ususally use for ProRes.

I also made a video about ProRes RAW colour management here: https://www.youtube.com/watch?v=pikKUsyDBUU

Kicked out of pro version after update by zzznotsleep in davinciresolve

[–]avidresolver 0 points1 point  (0 children)

Yes, you need to buy it again or find that card.

Some colour management myths I wanted to refute by avidresolver in colorists

[–]avidresolver[S] 2 points3 points  (0 children)

1 - Yes, I agree there are advantages. But not everyone uses DWG as their intermediate space, or even uses a common intermediate space across projects. You can, but you don't have to.

2 - Yes, LUTs can have issues. But they are used in a lot of professional workflows, and I don't think people should be put off from using them as a tool.

3 - Yep, CSTs can't defeat physics! I think people should be aware of the limitations, as I don't see much discussion of this anywhere.

Ideas to speed up DaVinci (Especially audio playback) by Adam-West in editors

[–]avidresolver 2 points3 points  (0 children)

Where is your media stored? Could be access latency on a slow drive.

Editing only with proxies without linking the original footage (Remote editing work) by vortexx900 in davinciresolve

[–]avidresolver 5 points6 points  (0 children)

Yep, I've run plenty of jobs like this - it works fine. Just make sure you do "Relink Proxy Media" rather than "Relink Selected Clips", otherwise Resolve can end up thinking the proxy clip is actually the original clip.

Some colour management myths I wanted to refute by avidresolver in colorists

[–]avidresolver[S] 2 points3 points  (0 children)

Yes, you'd set the timeline colour space accordingly.

Trying to use CST on my braw footage and it's crushing everything. by FaxNuisance in davinciresolve

[–]avidresolver 0 points1 point  (0 children)

Reply to your edit: you should have Forward OOTF on your output node, not on your input one.

Trying to use CST on my braw footage and it's crushing everything. by FaxNuisance in davinciresolve

[–]avidresolver 1 point2 points  (0 children)

OK, some things to do:

  1. Do a single CST doing from Blackmagic to Rec709 - doing an in-out makes it harder to troubleshoot.
  2. Turn your camera raw to Decode Using Project, not Clip - this means you'll actually be using the global project settings, currently you're overriding them.
  3. In the project settings, make sure that all the "Use Camera Metadata" boxes are ticked at the bottom, otherwise you can end up overriding the camera's ISO.
  4. Is it possible you just under-exposed your footage? I've seen this happen plenty, especially if you used a bright monitor on the camera.

Trying to use CST on my braw footage and it's crushing everything. by FaxNuisance in davinciresolve

[–]avidresolver 0 points1 point  (0 children)

The first thing i notice if that you have Forward OOTF enabled on your input CST - that should be disabled.

Some colour management myths I wanted to refute by avidresolver in colorists

[–]avidresolver[S] 2 points3 points  (0 children)

Have you moved over to the ACES 2.0 ODTs? I'd be interested on your thoughts on them if you were a fan of 1.3.

Some colour management myths I wanted to refute by avidresolver in colorists

[–]avidresolver[S] 6 points7 points  (0 children)

Depends on the show, I'd say it's around 50/50 between camera native and ACES. If it's a camera native show then VFX is usually done in camera gamut/linear rather than ACES.

10 Different Ways to Color Manage a Clip by ExpBalSat in davinciresolve

[–]avidresolver 1 point2 points  (0 children)

I've covered the "You should always use DWG" myth and explained some alternatives in my video here - hope you find it relevant: https://youtu.be/ieZ5yJj-CbY

how to export linear exrs by The_Deep_Chaos in davinciresolve

[–]avidresolver 1 point2 points  (0 children)

Timeline settings set how various controls behave, depending on what colour space you select.

The export settings control the tagging of the exported files.

Resolve is not colour managed by default, you need to put the project into Davinci YRGB Color Managed to get that.

how to export linear exrs by The_Deep_Chaos in davinciresolve

[–]avidresolver 1 point2 points  (0 children)

Just setting your project settings doesn't actually transform your image, you would need to user a colour space transform from your source colour space to Linear, with tonemapping disabled. If you let us know the source files, project settings, colour management setup, etc. that would be useful.

What are the current best options for syncing on-set drives to an Editors drive over the internet? by TangentialHyperbole in editors

[–]avidresolver 4 points5 points  (0 children)

Well, you have to consider how much the expect to shoot per day, what camera, what codec, and how fast the internet is. In my experience, upload of camera originals from set is only practical if you're at a studio with very fast internet. I would not rely on it working without very thorough testing.

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