![]() ![]() For reference, my desktop specs are quite high-end for a general user, and sort of medium-end for a professional video editor. are significantly faster than when working with the original h264/h265 files directly. ![]() Things like previewing grades/effects, scrubbing through footage, final render, etc. And even with that all said, it's still much smoother working in Resolve w/ a Cineform or DNxHD source file. This definitely saves time, but when I'm not at home, and my desktop is unavailable, I do have to use mezzanine codecs for my laptop to even have a chance at working w/ 4K clips in Resolve. And since in many cases, I'm not doing much editing, and rendering my final deliverable from Resolve, I don't actually *need* mezzanine codecs at all. I also recently realized that with my latest hardware upgrades, my desktop computer is just *barely* fast enough to handle working in Resolve directly from a h264 or h265 source. While I started out w/ DNxHD, and eventually moved to Cineform as mezzanine codecs and used to transcode all my useful incoming footage w/ Adobe Media Encoder. Reasons why you SHOULDN'T care about mezzanine codecs: DNxHD/Cineform allow for multiple rounds of import/export before you start to lose quality. you'll lose quality along the way each time you render to h264. The other upside, is that if you go from h264 -> resolve color grading -> h264 -> premier -> h264. So basically, the mezzanine codecs are for carrying around a "less compressed" copy of your video, that's easier Resolve/Premier/etc to work with. Obviously, your final product will eventually need to be rendered back into h264/h265, but that only happens at the very end of your workflow. If you start w/ a video file transcoded to a mezzanine format, you save a lot of CPU cycles on the initial decompress, and if you render back to mezzanine codecs for importing into another program, you'll also save many CPU cycles there. Often significantly more so than the actual grading or effects aspects. The "decompress" and "compress" steps above are EXTREMELY CPU intensive. Source video in h264 -> Decompress -> Uncompressed Frame -> Apply Effects + Grades -> Compress -> graded video in h264 -> Premiere/NLE-of-your-choosing ![]() If you're grading in Resolve, then want to move your graded content into Premier or wherever, the computer has to do this: This also carries over to your workflow. when you use a mezzanine file as your source, your computer can spend significantly less time decoding the source media, which allows it to spend much more time on things like applying your grades/effects to the preview. Mezzanine codecs like Cineform or DNxHD, while still "compressed", are significantly easier for your computer to "decompress" when working with them in Resolve (or any other grading/editing software). Then it must do work to apply whatever grades and effects you're working on, then it needs to render that to your preview. each time you scrub to a part of the video, your computer must do work to "decompress" the h264/h265. When you're editing in Resolve for example. Why should you care out mezzanine codecs: Mezzanine codecs will produce files that are 5x-7x larger (or more!) than the original h264/h265 files, so they are NOT for archiving or "keeping" your footage, they are solely used as "intermediaries" during the editing and color grading process. A codec like Cineform or DNxHD are "mezzanine codecs", in that, while they still compress each frame of video, they do so in such a way that the loss/effect on the video is extremely minimal. h264 and h265 (aka, HEVC) are heavily compressed codecs, in that the image data for each frame is "compressed", something akin (in concept) to compressing a RAW image into a JPEG.
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