But be prepared to get your optimized media at a really huge disk space consumption level H.264 UHD source clip size gets multiplied like ~100x of the size of the original).įor the final delivery rendering, you either use the source files - if your optimized media and render cache are in a low-IQ codec. According to Alexis Van Hurkman, this format is optimal in terms of IQ. I use DNxHR LB at ¼ timeline resolution for UHD, and at ½ resolution for FHD timeline for both optimized media and render cache format.īut if you are not limited with either NVME SSD space or CPU power, you may use uncompressed 16bit floating-point format, too. How does it work? To avoid problems with H.264/265 decoding "on the fly" each time again and again while editing and grading, you generate optimized media which is good for timeline viewer to run buttery smooth on your hardware. ![]() So it seems to me that pre-transcoding of the source footage from H.264/265 4:2:0 into something "better" makes no sense (if you are on paid Studio which ingests H.264/265). ![]() ZRGARDNE wrote:I personally don't want to be bothered with the faff, DNxHR HQ for 8 bit, HQX for 10-bit, done.As of my current understanding and (limited) experience, I second this approach.īut there's one interesting boundary case where the different approach works better, see īTW under the hood DaVinci makes all the transforms and grading in it's internal uncompressed floating point format anyway.
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