cpc

I've been using Resolve exclusively for debayering since 2013. You can surely notice differences side-by-side and Adobe Camera Raw is stills oriented (so doesn't care much about processing speed and uses more sophisticated demosaicing), but Resolve is good enough and way faster (real time!). AE was never even a contender for me (and I use Lightroom for stills all the time). The convenience and smoothness of real time raw editing and coloring is huge for me. I often abuse the raw processing controls for grading purposes and I switch from editing to grading and back all the time as I edit, something one can't do (easily) with a proxy workflow or when baking to a log space in advance. This has been Resolve's greatest appeal.

re transcoding in Windows: You can easily make DNxHR/DNxHD proxies in Resolve itself as long as it can import the original files. There is also the notion of "optimized media", which is really just internally managed proxies.

So how's the rolling shutter in the higher resolutions?

The idea is that a 3x3 binned image draws from 3*3*1920*1080 photosites (if it is true binning), whereas a 2.7k image (say, 2700*1520, can't remember the exact resolution) would be based on ~4.25 times less photosites, which should affect SNR significantly. But yes, if you are consistently going to shoot 2 stops lower ISO sensitivity, it should be fine.

Yeah, there is literally no correlation between nearby pixels to be exploited by the compression algorithm once dominant random values like noise and moire appear. So is the resolution gain from 1080p to 2.7K actually worth the (probable) loss of sensitivity and wide angle abilities? I'd figure binned full frame 1080p is still the best bang for buck? Maybe a direct comparison of noise levels will shed light on this.

It depends on detail and range. ISO is only one of the factors which increase detail (more noise). If you shoot a highly detailed wide shot you will get significantly lower compression levels than in the case of, say, a close-up with lots of defocus in the frame. Also, darker shots will compress better (less range).

If you are going to scan only, you should probably be shooting negative anyway. Ektar and Portra are excellent for stills, and you have the Vision 3 series for motion pictures. Ektar in particular delivers chrome-like saturation at very fine graininess. Scanning chromes is trickier in a sense, and requires more from the scanner. Still, pretty cool to have Ektachrome back so soon after its demise, it makes beautiful punchy pictures.

http://blog.abelcine.com/wp-content/uploads/2012/11/AbelRaw-Workshop.zip

The Odyssey records in Canon's .rmf raw format.

Add a stop for each additional bit. Also, Canon raw has a high black level, as well as some (tinted) headroom above the nominal white level. Truncated Canon 12-bit linear would actually be around 11.5 bits.

Not enough usable dynamic range. Around 6-7 stops.

I don't see anything mentioned about this in the linked thread.

Link?

I find Resolve excellent for online editing of raw footage (CinemaDNG). Infinitely smoother than Premiere.

Don't get too excited just yet, cause 10-bit linear raw isn't a pretty sight.

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Sound like you aren't using Magic Lantern? If this is indeed the case you aren't using your Canon camera in all its glory.

If the Ikonoskop is an indication, it will eventually go WAY down. As all digital equipment does. Digital doesn't age well for obvious reasons.

Thx, not much going on there lately though. Buried in work. </offtopic>

This may have more to do with Blackmagic than Adobe.

Resolve is way faster than Premiere in pretty much everything except decoding/encoding of some formats (h.264 for example). It is entirely GPU accelerated on the processing side and you can go real-time on fairly modest systems.

Drag and drop into the media pool works fine in Resolve?

5dm3 raw storage is in the ballpark of ProRes. Now the size of an Alexa 65 raw frame... this is something else.

Exactly. Even after whites compression there is still plenty of tonal info in there (more values per stop than in Cineon film scans, for example).

If you are on Mac you can export ProRes from their ssd offload app (called cinelight). Probably a better idea to do this yourself in Resolve though. One thing to keep in mind is x5r 1080p raw drops to 10-bit linear raw at high fps (definitely for 60fps, not sure about 48fps). It's a noticeable drop of quality compared to the 12-bit 1080p raw at lower fps.