ProRes Encoding in DaVinci Resolve 19.1.4

Introduction

On Friday, March 21, Blackmagic Design released an update to DaVinci Resolve with version 19.1.4. This update brings typical updates, such as general performance and stability improvements in Resolve and Fusion, and fixes for specific issues. From our perspective, two updates stand out. The first coincides with the Blackmagic Camera 9.3 update and the release of Blackmagic RAW SDK 4.5. The second adds Apple ProRes encoding support on Windows and Linux.

Blackmagic RAW SDK 4.5

With updates to Blackmagic Camera 9.3 and Blackmagic RAW SDK 4.5 in DaVinci Resolve 19.1.4, users can now integrate URSA Cine 17K 65 camera RAW footage into their editing pipelines. Although 17K resolution exceeds current standards, its relevance will grow as display technology, LED volume stages, and large-scale immersive displays like the Las Vegas Sphere evolve. We will explore the limitations of current PC hardware in processing and editing 17K footage through future tests, identify the technological gaps limiting higher-resolution workflows in today’s pipelines, and determine the hardware specifications required to make 17K more feasible.

ProRes Encoding For Windows and Linux

The more significant update in Resolve 19.1.4 is the addition of ProRes encoding support on Windows and Linux, which was previously unavailable. ProRes, an intraframe codec, encodes each frame individually and relies on the CPU for processing. It has widespread adoption across Apple, Windows, and Linux, with support from various camera manufacturers and applications like Resolve and Premiere Pro, making it a standard format in post-production. This update gives users an additional codec for transcoding and encoding, positioning Resolve as a more versatile platform for delivery and distribution.

It’s worth noting that ProRes RAW decoding was not included in this update. ProRes RAW is primarily used in cameras and external recording devices to capture and work with RAW footage rather than as a format for final export or distribution. This format offers higher bit rates, enhancing image quality for post-production tasks such as camera tracking, compositing, and color grading. While users still cannot natively work with ProRes RAW footage in Resolve, the software supports decoding and encoding with other ProRes codecs such as:

• ProRes 422 Proxy
• ProRes 422 LT
• ProRes 422
• ProRes 422 HQ
• ProRes 4444
• ProRes 4444 XQ

With support for ProRes, users can transcode proxy media directly in Resolve or through the Blackmagic Proxy Generator. In the Proxy Generator, the only available ProRes option is to generate ProRes 422 10-bit 4:2:2 1080p footage, which encodes the proxy file in the ProRes 422 Proxy format.

To transcode within Resolve, you can go to the project settings and adjust your Optimized Media and Render Cache settings, as these will determine both the format of your proxy media and the file type of your render cache. Proxies generated in ProRes Proxy, 422 LT, or ProRes will result in smaller file sizes than ProRes 422 HQ, 4444, and 444XQ, although this depends on the selected media resolution.

So, what is the difference between generating proxy media, optimized media, and render cache in DaVinci Resolve? The differences come down to their functions and how they impact system performance during editing.

Proxy media generates separate files, usually in smaller resolutions and data sizes, and attaches them to your source footage as a sidecar. Suppose your system has performance bottlenecks when working with your original footage. In that case, proxy media can help with processing in Resolve, as these files are typically smaller and lighter in data processing. It’s best to use ProRes Proxy or ProRes 422 LT for proxy media.

Optimized media is a unique function in Resolve, allowing users to generate ‘optimized’ media for specific clips within the timeline. Resolve processes the selected clips and embeds the optimized media directly into its database, enhancing playback performance without reprocessing the source footage. However, Resolve does not transfer these optimized clips outside of the project because it stores them as metadata within the project rather than as independent media files. As a result, these optimized clips cannot be exported or used in other projects without being rendered to standard media formats. We recommend using the ProRes 422 format to balance image quality with file size when generating optimized media.

Render cache enables real-time playback by storing pre-rendered frames and effects. Although processing takes longer, pre-rendering ensures smooth playback across the timeline. For optimal performance, we recommend using ProRes 422 HQ or ProRes 4444 as your render cache format, especially when working with graphics or footage utilizing 4:4:4 chroma subsampling. Pre-rendering these higher-fidelity ProRes files puts the most strain on the system. However, this step typically occurs during the later stages of post-production when all the effects, color grading, and other adjustments have been applied and embedded into the timeline. While this process results in larger cache file sizes, it ensures the highest visual quality with reduced compression and artifacts during playback.

Conclusion

DaVinci Resolve 19.1.4 introduces ProRes encoding support for Windows and Linux, allowing users to encode and export ProRes media directly within Resolve. This eliminates the need to rely on applications like Adobe Premiere Pro for transcoding and encoding ProRes, making Resolve a more capable tool for final distribution and delivery.

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