John Griffin wrote:No need to transcode as you will potentially loose image data. Use the optimised media or cache options in Resolve which create temporary transcoded media to edit like Pro Res that are easy on the computer but preserve the original clips for final output rendering.
You won't lose any image data if you transcode to a better format. DNxHR or most flavors of ProRes 422 (particularly a 10-bit codec) is going to be more than GoPros need. You do need to be careful to make sure of Video/Full Data Levels and so on. For workflow purposes, I would always rather manually transcode all H.264 & H.265 interframe codecs to one of these first, to take some of the load off the CPU during playback.
Sam Steti wrote:For personal projects (pro hardly include gopros), I've almost always batch transcoded to ProRes. For so many reasons it would be a waste of time to elaborate here, the main one being h26x are no editing but diffusion codec...
We do encounter well-intentioned clients who use GoPros or DJI cameras using highly-compressed codecs, and it does make our lives miserable. We do standardize on ProRes 422 (or 422HQ) most of the time.
Now that very small, high-quality cameras like the Red Komodo and BMD Pocket are out there, we're hoping that more filmmakers will use these instead of the $399-$499 cameras (or even the $999 DSLRS), since higher-quality small cameras can shoot uncompressed 10-bit, even Raw in some cases. We'd be fine in not transcoding those, assuming a big enough Resolve rig.