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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. 😁

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.

Uhhh I know! Maybe this summer when I have more time! The advent of internal LUTs I think will help me on that journey. Seeing what folks have done with Dehancer has been motivating as well.

Yep! Hey - you should look into colour grading! 🙂

Ive seen him make fx3 and c70 look like Arri

Blaine Westropp is also killing it recently.

Well, I dislike HFR as much as the next guy, but the reason he's abandoning it is because of the ecosystemic/economic context within the movie industry which doesn't want to take visual risks with their production investment, not because Ang personally doesn't like HFR. Aside from that, never been sure why he's enamored with the look. I've read his rationale, but it still doesn't jibe. HFR pulls movies way too close to visual "reality" and narrative film are stories. Make 'em ups. Pretend. The nature of 24p's look is a huge asset.

Slight digression from the topic, but unless you really need the flippy screen, you might consider the RX100 V over the ZV-1. The V is even smaller, but weighs just a hair more (probably due to having more metal and less plastic in the body) (and I think the V is cheaper on the used market). The flippy screen was just about the only difference between the two cameras.

I think it's just creators responding to the searches people make. I suspect there are far more searches on "A7S3" than there are on "three point lighting" because if there weren't then why is everyone making equipment videos? It makes sense too. I've just gone down a rabbit hole of searching about the ZV-1, despite it only being idle dreaming about having a slightly smaller camera. Obviously I have searched for many things associated with skills, I've done far more searches that were equipment focused, and despite the fact I'm not in the market for a new camera, for those people who made those videos, a watch / subscribe on a video still counts.

Hey HFR nerds, your two time Oscar winning director pinup boy changed his mind and now says HFR sucks. "You cannot blame audiences for not liking it because it's bad" - Ang Lee https://www.indiewire.com/news/general-news/ang-lee-bruce-lee-biopic-wont-be-3d-1234969304/

Right. I find it odd when the camera is in the subject line. Unless it's specifically a camera test, then it should be in the description along with the other information about the shoot.

Happy May Earthlings! I had another very busy month, but here's a brand new track for you on my Fantasy 13 page: "TROUBLE IN DREAMLAND" https://soundimage.org/fantasy-13/ As always, it's 100% free to use with attribution, like my thousands of other tracks. Enjoy! 🙂