Thanks for all the replies.
We’ve gone a bit off topic, but it all relates to Resolve in some way.
Just to be clear: if I want to get the best quality video out of my RX100 Mk 1, @ 25fps, I must...
1. Use AVCHD/50i 24M(FX)
2. Use a converter to make it work on Resolve.
Correct?
Thanks.
D.
Wonders! Hdcinrmatics converts effectively to Prores on PC!! Bang.
It's not that converting will increase the quality of your footage.
What's recorded is what is. No way back. No gain.
But it may avoid more sins when you will work with the file. On the paper...
That is important if you work with very compressed codecs and plan
To do an in-depth color correction, green screens etc...(still on the paper...)
It's a bit like if you were doing retouching with jpegs in Photoshop. You need something more
Robust to handle manipulations versioning, like a Tiff. But at the same time you need something light enough
So it does not slowdown the editing.
We have a contradiction: editing needs speed, color needs depth.
A 8bits jpeg would be perfect for editing but bad for retouching.
A 32bits tiff would be perfect for retouching but bad for editing.
So there are codecs such as Prores and Dnx that are designed to do
Both tasks relatively well.
Also it will ensure that you work with a "standardized" workflow.
But converting is not ideal because it consumes space very fast.
In an ideal world, your camera footage could be in Prores422 10bits or 444(4)...so
That is suitable for both editing and color grading. Only you would
Create proxies if required for speeding-up the edit, then relink to your highres material.
To resume: no gain in quality from your original footage.
If you can avoid the transcode, better.
You transcode if:
-Your footage is from a very compressed flavour and
You notice that it slows down the editing task.
-Or you plan to do heavy color manipulations. But no gain whatsoever.
-You want to ensure to work within a standardized workflow.
(So to avoid unconsistencies and uncompatibilities)
Ps: it is not that formats like AVCHD are bad. Think of a formula 1 GP.
For live coverage it's great. They need quality but light.
Now for feature film it is not great because in movie they create
Atmosphere, heavy grading, special fx, green screen...and it's being projected in theaters.
So they need heavier artillery.