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Dpx has the same problem, I don’t see it having any edge over exr-s, it is less flexible and produces bigger files in most cases, at best 10bit dpx can compare with 16bit exr. Linearization isn’t always maybe the correct term, for example in case of purely display referred source footage like rec709 stuff, but ”straightening” is still beneficial for float storage.įor intermediate as video file, prores4444 or its xq variant beats any uncompressed video format in my opinion, I just don’t see the value in having a behemoth file with zero practical benefits. In non-aces project exrs usually are in some kind of universal intermediate colorspace like linearized with srgb gamut or alexa wide gamut, for aces aces2065-1 (ap0 primaries and linear transfer function). 16 bit half float can’t store 12bit integer log ”as-is” (straight int>float datatype conversion only) with all the precision due to how float precision works. ![]() It was Scott who mentioned VFX delivery, where 4:4:4 is preferable.ĭepends on what the inputs are, but whatever it is, it should be linearized before stuffed into exr, because there is (although in practice rather theoretical) loss from storing log encoded data as floats. Steve Fishwick wrote:No probs Hendrik, I get you now What colourspace do you use for VFX normally (because I suppose that could be another crunch) or does it just depend on the final delivery format?Īndrew makes a valid point because re-reading this thread, the OP is talking about delivery formats that are mostly 4:2:2 (In TV, my world not features I should add, before I get pounced on ). It might be worth a half-day rental, provided you can get a good deal or find somebody locally who would do it for you at a modest fee. #Davinci resolve studio windows export prores macYou could just rent or borrow a powerful Mac system and render it out directly on ProRes on that system. Smoke used to come out of my old Trashcan Mac whenever we had to deliver DPX, even running it at 5fps. Also, some machines choke when trying to render uncompressed material, because it's very stressful on I/O. You're not going to see any kind of real difference - even on scopes - but I would keep a close eye on levels and make sure that there's no gamma or video/full data level issue.Īnother potential uncompressed format would be DPX, which is pretty simple to work with, but the storage is enormous: DPX is about 10GB per minute, so a half hour of material would be 333GB (give or take). I think you could go with a perceptually lossless format like DNxHR 444, and then use that as a mezzanine format to transcode to ProRes on a Mac. the uncompressed would, in this case serve as both intermediate (to make the prores) and deliverable (to meet the request for uncompressed). my thinking is that, to meet these requirements now, i should export from DR as uncompressed and make a prores copy from that in a third party, probably apple, application. George Lockwood wrote:i'm usually supplied with prores or proreshq (an example of the format follows at the end of this post) and am asked to deliver in both uncompressed and prores. ![]() Here's the file info: Code: Select all Format : MPEG-4 i appreciate and look forward to any help, which one is most appropriate for this scenario? i used to pretty much just have apple uncompressed 10 bit as a choice. #Davinci resolve studio windows export prores freemy question comes from observing the MANY uncompressed choices i have, even in the free DR version i'm learning on. I'm usually supplied with prores or proreshq (an example of the format follows at the end of this post) and am asked to deliver in both uncompressed and prores. #Davinci resolve studio windows export prores PcBrand new to DR, having come from a mac system to a pc system. ![]()
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