I don't care for recording RAW, but DNxHR from RAW SDI - and this is output up to 4K DCI@60p.
You miss something. DNxHR will be decoded as 8bit in Vegas only, while ProRes will be decoded as 10bit. Not unimportant for HDR.
Wolfgang - you know very well I grade in Resolve...
Piotr
Sure. But then you use for your 10-12bit footage a codec that will throw you back to 8bit in Vegas??
Have no idea what your point is, Wolfgang - given the pathetic performance of VP vs. Resolve on my system, I have long ago switched to the latter - and not only for grading, but editing, too. The only one thing that I sometimes still use VP14 for is finishing my projects, including sound editing - but all this is done with "delivery versions" of my clips, which of course are all HEVC... So basically, adding the Inferno to my workflow didn't change a thing; whether it can display in 10-bit in VP doesn't matter at all, just as it didn't matter with my previous "Acquisition format" which is XAVC (and it being handled in 10-bit by Vegas didn't prevent me from mowing to Resolve Studio)... So really - it's sad, but to start using Vegas again like I used to, at least the playback engine must get revamped by Magix.
Piotr
You do not see the point what happens if you run a 10bit workflow in all your steps, but then in the last step where you will also render you perform a 8bit workflow only??
That is a joke isn't it?
In addition with the studio version of Resolve, where you have enough 10bit codecs available to render out your footage that will be decoded in Vegas as 10bit too? Cineform, ProRes, XAVC I, uncompressed ... Enough possibilities but you stick to DNxHR decoded as 8bit only?
Wolfgang - I thought I explained my workflow in various places and in an enough detailed way. DNxHR is NOT my deliverable codec; HEVC is - and of course for HDR, it needs to be 10bit. So - as long as VP can only produce 8bit H.265 (not to mention not being capable of retaining HDR and flagging its output as such), I'm staying away from Vegas at all. Only when/if it (hopefully) can handle 10bit HDR HEVC files (which I'm encoding from my DNxHR Resolve exports using FFMPEG), I might use Vegas for the above mentioned final steps (titling, sound, authoring etc.). Of course, my H.265 renders will then need to be of a much higher bitrate than the planned delivery files (my SUHD only accepts clips of up to 100 Mbps, which - in the case of HEVC - is already an excellent quality), so that the final render from say 250 to 100 Mbps is visually lossless. Got me know?
Piotr
Where did I state that DNxHR should be a delivery codec? DNxHR has never been a delivery codec, nor has ProRes been. So I never said that.
What you said in this thread is that Vegas cannot read DNxHR files. Title of thread: "Cannot load DHxHR clips from Shogun Inferno!" Well it can if you install the required codec. But even then it makes no sense for a 10bit workflow, since Vegas will not decode DNxHR files as 8bit and the HEVC encoder delivers 8bit only.
I think the question boils down to what the workflow is behind all this questions.
So if you wish to apply a workflow where you grade in Resolve Studio your HDR footage, export the footage to DNxHR, edit the footage in Vegas, and render to the final file as 10bit HEVC from Vegas, then this is complicated at the moment because the 10bit HEVC export from Vegas does not work up to now (only 8bit).
What I do at the moment with my FS7 footage is to shoot my HDR footage to XAVC I internally. And then grade that in Resolve (free version) or in the Catalyst Prepare for rec.709. Export the footage either as XAVC I from the Catalyst Prepare or as Cineform from Resolve before I go to Vegas.
Or I grade the XAVC I footage directly in Vegas, that is also possible since XAVC I will be decoded as 10bit in Vegas too. However, to use LUT plugins like Hitfilm or Looks4 will result in no great preview performance, that is why I tend to use the grading applications before I go to Vegas at the moment.
And edit that in Vegas with 8bit project settings, but switch for the export to 32bit floating point. And I render to Cineform and encode that to H.264 10bit or in future also to H.265 in TMPGenc 6 (even if I am sure yet if TMPGenc 6 will encode the footage to 10bit H.265).
If I use my Shogun 1 with the FS7 or GH4, what I tend to avoid at the moment since I do not see a real advantage by the Shogun1, I would record the HDR footage as 10bit ProRes (or with the XDCA as raw, but again here I do not see a significant advantage). ProRes can bei imported either directly in Vegas and will be decoded in Vegas as 10bit, and I grade the ProRes in Vegas with the Hitfilm LUT plugin/Look4 LUT plugin/Manually. Also a possible workflow.