mov files from my Canon SX50 HS camera! When I import the clips into timeline, “ Media Offline” generic message appears, but it has nothing to do with the actual media (un)availability – support for codec (or the lack of it) is! This means that I have to convert them to an intermediate format ( IMF) before importing into Resolve. mp4 files from my Sony Xperia phone, nor H.264 AVC. For example, it does not recognize neither 2k/4k H.264 HEVC. DaVinci Resolve is very picky when it comes to input and output video codecs and formats support and availability.The downside of Resolve is that each time you change stabilization mode, analysis cycle is repeated again (granted, it runs much quicker), unlike in Premiere. Resolve aims at professionals, studios and artists, which are assumed to have at least one decent system to run the industry-grade software in the first place. At first, in the eyes of ordinary users, this may appear as an artificial requirement designed to promote “ specialized” hardware sales (as of this moment, you can buy a second-hand NVIDIA GTX 650/660/750/760 card for desktop computers for just $25 that can run the software without any issues, plus, it will also help you with Adobe Premiere GPU accelerated effects and codecs - in case of laptops, the upgrade to external graphics card may be a bit more expensive and bulky solution unless you replace entire computer). Resolve version 15 requires at minimum CUDA compute level 3.0 or OpenCL 1.2 or newer GPU capability. This is somewhat expected, since Resolve will not function without modern CUDA (NVIDIA) or OpenCL (AMD/NVIDIA) capable graphics card(s) present. DaVinci Resolve seems to be the fastest one when it comes to video clip stabilization, both for analysis / tracking and actual stabilization part.Who is the winner? Watch this video to find out and judge by yourself! VIDEO STABILIZATION WORKFLOW EXPERIENCEįrom my personal experience, which I’ve gathered from laborious work with all these tools for several weeks, there are certain observations that I’ve made, which are important for the workflow: It took me a couple of weeks to gather material, sort it out, and then try all the different settings, algorithms and tweaks to find the best possible outcome from a given tool for a particular movie clip. From handheld recorded clips with my phone, when I regretted not having tripod with me, non-stabilized drone footage, all the way down to some casual recordings made with 50x ultra-zoom Canon SX50 HS camera (which has excellent built-in optical stabilization). How I tested? 8 different examples – 8 different situations.
Note: I advise to watch above video on a large 4k or at least Full HD screen, as many details won’t be visible on small mobile phone screens.
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