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Since then DaVinci have released a new version (8.1.1) without that restriction. At that time the free version was limited to only a couple of nodes depth (I think) but was still useful. As a result I looked it up on the web and discovered there was a free version. I heard about and saw DaVinci Resolve in action on Den Lennie’s music video course/experience. Posted in Blackmagic, camera, Cineform, codec, Compressor, DaVinci Resolve, DNxHD, Encoding, Formats, GoPro, RAW, Uncategorized | No Comments »
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A movie file with name prefixed by :R4P_” and suffixed by “_sound”, incorporating both video (10-bit Log) and audio tracks.Clicking the button reveals that this creates 10-bit Log (colour-channel resolution).The alternative (if not enabled) is no audio in the generated file (and no WAV file).Initially, extract audio from source file to a WAV file, then merge this audio in with the generated file.Select (Browse-to) input-folder, output folder.as proxies) as DNxHD, in each case in either MOV or AVI container-formats. Essentially a front-end to generate CineformRAW and also to generate HD (e.g.A product incorporating the GoPro-Cineform RAW codec.Happily, a simple solution existed: RAW4Pro, which is essentially a front-end to CineformRAW (and also to DNxHD, useful e.g. I experienced such problems myself: one version of Resolve (v.10.0) interpreted CineformRAW clips as green-tinted, while another (v.10.1) just gave black frames.
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The latter is in widespread use but is especially relevant to BMCC owners because it is supplied as free software with that camera. A comparison-grid of the various GoPro Studio products is here.ĬineformRAW is an attractive compression-format, but unless care is applied to some very technical-level encoding options/settings, compatibility problems can arise when importing to DaVinci Resolve.
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This codec can be purchased as part of the GoPro Studio Premium product.
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The GoPro-CineformRAW encoding format offers significant reductions in file size (and hence data rate) at the cost of a practically negligible loss of visual information (and a purchase price). Compared to “visually lossless” say ProRes or DNxHD (let alone H264 etc.), CinemaDNG occupies an awful lot of disk space, primarily because it is mathematically lossless. Suppose you have some RAW footage, in CinemaDNG format (a number-sequenced set of files), for example shot on a Blackmagic Cinema Camera (BMCC).