@sneak Time for a good mezzanine codec like DNxHR HQ. This might work:
ffmpeg -i input.ext -c:v dnxhd -profile:v dnxhr_hq -pix_fmt yuv422p -c:a pcm_s16le output.mov
@mikael resolve studio is only $300, and it's a one-time thing not a fucking shitass forever subscription like the assfuck creative cloud, so i just bought it. while i'm waiting for my license key scratch card to arrive from ebay, i have a cracked version that also works great.
@mikael i like it when my nle generates the proxies (vs the camera) because then i can just load in the originals, tell it to make proxies, and go to bed. i don't need to pair them, or know where they are, or whatever.
@sneak You're right, a proxy workflow usually works the best if you let the program handle proxy generation. I'm not too good with Resolve though, so can't how well it works hooking up proxy with original. I work almost exclusively in Premiere (required for work).
@sneak Your Sony camera (A7S III?) might also support proxy encoding at capture, that way you don't have to spend time transcoding when you're back to your computer.
@mikael it does but i don't know yet how to manage hooking up low res proxies to the main media without a big hassle. i just upgraded to resolve studio and it does x265 10bit.
@sneak Good investment 🙂 Transcoding is often a fact of life. XAVC HS/H.265 is not particularly good for editing (focus on compression efficiency and is long GOP). Might work with 18 cores, but I suspect you will be limited when it comes to FX. Now that you've bought Resolve which supports your files, opt for a proxy workflow instead of a mezzanine one. It will reduce disk trashing *and* processor trashing. 🙂 I much prefer a proxy workflow. Smooth as butter at all times!