BMPCC4K - BRAW Best Format

how does resolve ensure it doesn’t pick up the lesser proxy files for the timeline and use the original
Source files instead?..my confusion is it seems when importing the fcpxml back
Into resolve won’t it be importing the proxy files ??

Resolve will only link to the files that are in the media pool. By starting in Resolve you pull the original media into the media pool and export out the proxy files (make sure to use the Deliver Page option to render those proxies as "individual clips" using the source file names). Those ProResProxy files are what gets used in FCPX, then when the edit is locked you export FCPXML from the locked offline sequence back into the same original Resolve project that already has the source media in the media pool. When importing the FCPXML you just have to make sure to UNCHECK the option to "automatically import source clips into media pool"
By doing that you will force Resolve to link to the media that exists in the media pool, that's the source media that you started with.

Hi Jaimie,

That is extremely useful for me as I want the best of both worlds - the magnetic timeline in fcpx and the colour grading capacity of DaVinci. Once you know have experienced the magnetic time line it is hard to go back to track based editing.

Cheers

how does resolve ensure it doesn’t pick up the lesser proxy files for the timeline and use the original
Source files instead?..my confusion is it seems when importing the fcpxml back
Into resolve won’t it be importing the proxy files ??

Resolve will only link to the files that are in the media pool. By starting in Resolve you pull the original media into the media pool and export out the proxy files (make sure to use the Deliver Page option to render those proxies as "individual clips" using the source file names). Those ProResProxy files are what gets used in FCPX, then when the edit is locked you export FCPXML from the locked offline sequence back into the same original Resolve project that already has the source media in the media pool. When importing the FCPXML you just have to make sure to UNCHECK the option to "automatically import source clips into media pool"
By doing that you will force Resolve to link to the media that exists in the media pool, that's the source media that you started with.

Wow that’s a great tip thanks!

In general though what does/doesn’t get pulled across from final cut into resolve?.. appreciate the actual
Edited clips sequence will bit what about music, transitions or any specific plugins that have been used in fcp x.. ?

Hi Lee

Did some testing.

titles come in.

transitions come in.

audio comes in of course.

sadly audio changes don't but I think I could live with that.

Rob

Hi Lee

Did some testing.

titles come in.

transitions come in.

audio comes in of course.

sadly audio changes don't but I think I could live with that.

Rob

Hi just quickly tried it and it has the transition markers but doesn’t actually show them on render.. I also applied a lut in fcp x and that didn’t come through either..

I saw this article with JB about the new drama were the BMPCC4k was use to shoot sex scenes. I wonder if they were shot handheld and were there issue with camera shakes since it has no IBIS?

https://www.redsharknews.com/john-brawley-interview-ursa-mini-pro-and-alexa-join-forces-on-the-great

Update: its been shot by Ms Fanning

I haven’t shot much at all with action. Depending on your shutter angle and frame rate, your frame may have a lot of motion blur and that’s not the kind of detail with edges that Q5 is going to do anything unusually good with. And it should;dn’t be bad either because the shots will often be about the motion. Definitely needs to be tested and compared, but if you know media use needs to stay low, it’s what I’d shoot. When I have the space, I shoot Q5 and ProRes 444 if it’s available.

Hi.. not sure I am understanding where prores 444 comes from?.. that’s not an option in cam?.. or are you saying shoot in q5.. export as prores 444 from resolve into fcp x to keep 12 bit?


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The smaller cameras don't offer that.
You could either do a 'first light' in Resolve and transcode to 422 HQ or export 4444, but at the cost of huge files.

The transcoding you’re talking about uses a lot of resources as Uli mentioned. On the BMPCC4K I only have the option to shoot BRAW 12bit, but do shoot ProRes 422 HQ as you know.

I poorly worded by previous reference to ProRes 444 so my apologies. I should have begun a new paragraph to separate the thought that “if available” I shoot ProRes 444. In my case that means ProRes 444 on the URSA Mini 4.6K. I do that so I always have 12bit colour.

If I ever had to deliver ProRes to a client, I would take the time to transcode the 12bit raw to 12bit ProRes aa you suggested Lee. I just try to work with the best colour I can. It’s certainly not necessary as a general rule for everyone as ProRes 422 HQ also produces very good results.

The transcoding you’re talking about uses a lot of resources as Uli mentioned. On the BMPCC4K I only have the option to shoot BRAW 12bit, but do shoot ProRes 422 HQ as you know.

I poorly worded by previous reference to ProRes 444 so my apologies. I should have begun a new paragraph to separate the thought that “if available” I shoot ProRes 444. In my case that means ProRes 444 on the URSA Mini 4.6K. I do that so I always have 12bit colour.

If I ever had to deliver ProRes to a client, I would take the time to transcode the 12bit raw to 12bit ProRes aa you suggested Lee. I just try to work with the best colour I can. It’s certainly not necessary as a general rule for everyone as ProRes 422 HQ also produces very good results.

I suppose that’s more important then.. what are people are actually exporting their files as and how are they finally viewing them?

I have a smart tv and can plug in my external usb to view video files.. but it doesn’t like anything like prores so I have religiously always exported as h264.

I judge the quality of the bmpcc 4k footage from everyone through the medium of the internet, be it Vimeo or YouTube.

Those videos , that are highly compressed through those channels look amazing.. but to get to YouTube in the first place they must be exported from fcp x or resolve away from the original format they were orignally, be it prores or braw.. so what are people using for export settings to maximise maintaining quality for final delivery?


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Lee, I haven’t done this but I thought one could export ProRes in your desired form and the delivery management routines on YouTube would convert it to their preferred format.

That’s correct, but of course the size is bigger and may limit transfer and acceptance by YT.

That’s correct, but of course the size is bigger and may limit transfer and acceptance by YT.

Sorry what is correct?

That you can upload ProRes to YT.

These are quite drastic findings:
https://www.bmpcc4k.tech/2019/03/05/fai ... mware-6-2/


Here are two 1:1 image crops for comparison:

cinemadng-3_1.png

CinemaDNG 3:1

BRAW-3_1.png

BRAW 3:1

The difference in the resolution of textures remains quite visible even when you downscale the image from 4K to 2K - even when you downscale from 4K to SD...

This is a drastic loss of optical resolution.

Is this zoomed in?

Finally got to see "The Great" on C4 in the UK. I'm usually a fan of period drama but not sure yet what to make of this. Its tries to be "Blackadder" with bigger set and budget but the silliness and wits that came with British comedy is not there and seems constrained. l'm not sure how the slapstick and the expected feminist empowerement cliche would work but the jury is still out. I was taken aback by the voice over announcement at the end credits offering advice to viewers with a web link to seek support for issue raised on the show. Really?
I know JB is the DOP but who did the lighting? I like the camera work and composition but at times I feel the light was sucked away.

Good morning all

Its been around 5 months since I purchased my BMPCC 4k and have managed to do a lot of filming over the Christmas period and have finally got round to reviewing my footage.

I was keen to see if I could tell the differences in different braw formats in resolve, in terms of noise, sharpness, resolution etc.

I have been mainly using Q5 since day 1 and have been happy with this, especially as I managed to record to SD cards using this codec.

However, I purchased the Samsung T5 SSD before christmas and started to shoot most of my stuff at Q0 as I was only shooting in small amounts and then offloading daily to my mac.

I have to say when reviewing all of my footage it was clear to me from the outset which footage was shot on Q5 and Q0. Q5 really seem quiet noisy and mushy in a lot of my footage and my concern with this codec is that when it goes low....it goes too low..

on the other hand Q0 looks great all round - but requires a lot more storage and the use of SSDs, probably overkill for the work I am doing (personal projects, weddings etc)

In reading around these forums I think I have decided that 5:1 would be give me a happy medium for what I need - I can record 25p to my SD cards (cant record 50p but I will use 8:1 for that) and the quality of the footage is of a high standard, and I know from the outset what space is going to be required on my cards.

For personal projects I might just shoot 8:1 to sd, as with the sandisk 170'S at 25p and 50p this is possibile. I will then leave the 5:1 for paid work and/or weddings.

I have also been very tempted to use ProRes, as I like the sharpness of the footage compared to what BRAW offers out of the camera. I cant however bring myself to do this and lose all the benefits that BRAW brings (WB slider, ISO control etc etc)

It would be good to hear what you are all shooting at the moment and your thoughts?

thanks

David, you might want to look at the most recent comm BTS in the thread Brief History of Quality:

A Brief History of Quality: Comparing BRAW 3:1, Q0, Q5
https://r.tapatalk.com/shareLink/topic? ... source=app