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What a waste of space, I mean I have a Z9, I always use 4k mode and zero sharpening because it is already too detailed. Once I had the misfortune of using the 4k from 8k output on older people, that thing was so hard to blur the skin as it was so detailed. What is the use of using such resolution then to put all types softening filters.

This video outlines what to expect from those new M4 chips. Yes, the new iPad has the fastest single core production chip. I'm fairly certain the new M4 high-end macs will handle multiple simultaneous streams of 12k. I'd go for that.

Yes, it is a bargain for what it is. I mean it seems RED was not doing that well, but for a bigger player, it is a small sum for a big return. I mean Nikon goes from a nobody in the video world, to one of the cameras used in the Cinema industry. They also get some quite unique tech, like the global sensor tech, a codec/color science widely use in high-end cinema industry. And a way to enter the Cinema lens market. The likes of Canon must be biting their lips, it is so cheap that only securing the mount would have been worth it.

I wouldn't buy a Mac right now. I'd wait until after June if possible. I think there will be new M4 macs, most likely a new Mac Studio, Mini, MacBook Pro, and maybe a new iMac. Or, if you do get the "older" model, get it at a reduced price.

Absolutely. I'm exclusively a MBP user because of portability requirements, but as my 2020 Intel-based MBP is able to edit the files I have, lately I've been investing in extras that live outside the MBP and therefore don't need to get re-purchased every time I upgrade.

The price is revealed. $85 million.

The only way to upgrade the GPU on a MBP is to buy a new MBP for another $4k. Not the best plan unless you're independently wealthy - and if so, then you might as well just spend the extra $300 for the better chip now. 😃

Apparently the 50GPU is going to being far more drastic improvements. Maybe you could make do with a 30GPU and then directly move to the 50GPU when it releases later this'll year.

BM has sample files for download. They're on these pages under the "Generation 5 Color Science" heading (different files are available for download on each page): https://www.blackmagicdesign.com/products/blackmagicursacine https://www.blackmagicdesign.com/products/blackmagicursaminipro

The above is exactly why I say there are asterisks and "it depends" in the answer. Will either computer be able to play back 12K braw in Resolve without dropping frames? As long as the storage is fast enough, absolutely. Will it be able to play back in Premiere without dropping frames? 🤷‍♂️ FCP? 🤷‍♂️ As I said before, my M2 Max (the weaker version) w/ 64GB is just able to play back 8K raw from my R5 in Resolve. If I put on a grade where I tweak a few raw options, add FilmConvert Nitrate, and tweak some curves/color warper stuff afterward, I still get 23.98 on it as long as I'm not doing anything else in the background. Canon raw is a nightmare codec in terms of performance. Braw is easier. One other thing to consider is that I'm sure that the local Apple store (if there is one) has some M3 Max models on the showroom floor. If you're nice about it, they might be willing to at least put FCP on one (or let you download Resolve) to load a sample project file and some footage. Since the UM12K has been out for a long time, I'm sure some nice reviewer/youtuber has put some raw files online for you to download. You could just give it a try with one of your sample grades to understand if it performs as needed.

there is a cost effect ratio here too. other than magic lantern cameras, uncompressed raw cameras are extremely expensive, like the Alexa family. on the other hand, a 60p camera with a low end codec can be very cheap. doing action packed shots, the latter one will be more suitable. try a 24p thin codec camera, you can hardly see clearly anything once the camera is panning, tilting, or doing other complexing movements.

Here is an answer from a pro colorist / editor. It will give you a perspective and a cool tip how to edit any footage on a not very powerful computer. https://www.youtube.com/watch?v=olvTKnLJCJc https://www.youtube.com/watch?v=lTes9KkwmME According to another of his videos, 12K BRAW is so well optimized that it can play without a problem on a Macbook Pro 2017 https://www.youtube.com/watch?v=0ShXVTiGD80

It would be great to be able to give a straight answer, but there are too many variables. Even something like the SSD option of the Mac model chosen might mean that it can or cannot do something. Going to Resolve, there are literally dozens of variables involved. Even if it's just 12K footage on a 4K timeline with a LUT - will Resolve be using Linear or Tetrahedral interpolation for the LUT? This matters as it's extra processing power required, etc.

True. I think the point is to exactly realise what such difference actually means... in resolution numbers, as for instance : ) What one allows and the other one instead :- )

Sure, but crucial for what? If it's the difference between being able to play realtime with a LUT for editing purposes or not then it's probably a critical amount, but that will depend on the timeline resolution. If you want to colour grade then some things need to be done at full timeline resolution and some things don't. Grading in front of clients is a specific need that some have and some don't have. If you're only grading with simple adjustments then that is very very different to doing intensive tasks like NR or any of the AI things. So, "critical" really depends on the application. For typing on these forums, I'd say no, but everything else is a question mark....

I think the intention of the OP wondering is about how crucial 33% of an increase of the number of GPU cores is, though... Just sayin' :- )

Further to what @eatstoomuchjam said, I think there are only three types of performance: it can't play ungraded footage realtime (ie, you can't edit with it) it can play footage realtime but can't do it with a heavy grade (ie, you can do some colour grading realtime) it can play footage realtime with a heavy grade (ie, it's reliable and you can colour grade live in front of a client) The spec required for level 2 should be researchable and BM would have made this pretty efficient I would imagine. The spec for level 3 is a "how long is a piece of string" question, depending on a ton of variables including timeline resolution and only you can answer it, but if you're going to be doing lots of heavy things like NR and spatial treatments on a 4K timeline then you're probably well into Ultra / Studio territory.

There are a lot of asterisks and "it depends" in any answer to that, but overall, I'd say that if you're spending $4k on a MBP (which updating from the base RAM and SSD would do), if you plan to edit 12k, it might be worth the extra $300 to jump to the bigger chip. It partly depends on how many effects/how much noise reduction, etc. I'd also say that if you're like most people, if you're gonna spend $4k on a laptop, you're going to want it to last for a while. You might factor that in too. Speaking for myself, I bought the lower of the M2 Max chips in my MBP and it's just barely enough to handle 8k Canon raw in Resolve and once I add noise reduction to the clips that need it, export times get pretty slow (like 40 minutes for a 15 minute short). Would having the system be 30% faster help a lot? Not really. 30 minutes to export the clips wouldn't be life changing. You might also consider whether M4 is coming soon - M2 was released in June 2022 and M3 in October 2023. If the M4 is coming, it'll probably have about a 10-15% speed boost over M3 - that or you might be able to get a nice deal on an M3 at that time. Depends on when you're planning to start shooting 12k, I suppose. 😁

Hi everyone, i have a lot of terabytes for a project im working on, and i wonder if i render a timeline and delete the original files, the rendered one will preserve the quality and stand up for post procesing? Im working on davinci resolve and doing some render test but i can't see an image diference between the original and the rendered file. What is your experience with this? You always kept the originals?

I love the way Blaine constructs his videos. Zero fluff. Just tips and tricks the whole time.

M3 Max with 14 vs 16 CPU cores too, but I wonder if that GPU difference will make any of a big gap for 12k footage?

Further to this, I watched a few past videos from Blaine yesterday and this video (while quite chaotic) gives a bunch of pretty interesting examples of how using a Film Emulation of some kind combined with some of the basic Resolve tools can give quick but very effective results: Perhaps the most interesting thing about it is the way he treats Resolve.. he shows that if you know a few techniques then you can get in, make some good adjustments, get a great result, and get out, and move on with your day. It's sort of a rare counter-example of the impression that Resolve is finicky and takes hours and hours, which almost all other colour grading videos give, but isn't true. At it's most basic, you can just apply a LUT to every clip and then make basic adjustments in a node prior to the LUT on each clip and can get great results in a really quick way. This is the way that film-makers grade when they want a result, rather than the way that colour grading YouTubers grade when they're making a YT video about some nuance or other. The section from 5:00 on with the test shots shows that even if the shots weren't filmed well at all, you can get great results quickly with just a few quick techniques.

Cullen Kelly says that the grain and the halation are nicer than the previous separate OFX plugins, so that's promising if you're a connoisseur / picky 🙂

From the videos I've seen on Film Look Creator, I think subtractive saturation and split toning are the things that stuck at to me as most interesting - that and I'm going to need to spend a bit of time with their grain generator to see if I like the output.

I recommend FilmConvert or Dehancer if people like the overall film look but don't want to learn to colour grade - it's a quick and effective solution. Resolve 19 has a new plugin called Film Look Creator included in the paid version that is like FilmConvert / Dehancer except it doesn't model specific film stocks but is designed to give a flexible overall film look. For most people it would be better than FilmConvert or Dehancer just for creating a nice look and not having to learn colour management etc.