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AVID ADRENALINE or FCP
Hi I am looking for a solution that helps me capture HD material in a good quality (10bits, RGB 4:4:4:). I need to share that material with other workstations and make color corrections in the system or in the other computers. When all the job is done i have to output to data and print film. Do you think that Dnx quality is enough for that? maybe i should think about FCP?
thanks
tomas
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6 Replies
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I just read an article on Sin City that they didn’t go with FCP, because it couldn’t capture 10 bit 4:4:4 RGB.
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As with all things, you need to test for your particular footage, but I tested 2K scans rendered as uncomressed HD and DNxHD 220 10 bit and did a split between the two. I then exported as DPX files and did a filmn out as well as project the DPX files on a 2K digital projector in a critialy controlled color correction room. No one has been able to tell me which side is which and how the split was done.
Michael
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FCP can capture 4:4:4 using a blackmagic design card can’t it?
Have Adrenaline but somehow my money would be on FCP in the long run.
Adrenaline is almost robust but buggy in several areas.
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[tmvc] “FCP can capture 4:4:4 using a blackmagic design card can’t it?”
The workflow for actual 4:4:4 editing is in its infancy with FCP and most others for that matters. Quite frankly, unless you are going out to film, you’ll see little benefit above 8-bit 4:2:2 HD. A lot of claims are made for 10-bit and 4:4:4, but in most cases, the signal path is truncated to 8-bits internally because of what happens with the disk-writing architecture or the OpenGL card in the system. This is why Autodesk’s Linux-based smoke HD system is considered an 8-bit box, even though portions exceed that. I believe “Sin City” which was referenced was conformed on Quantel products for a variety of reasons, the least of which was probably 4:4:4.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
[Oliver Peters] “I believe “Sin City” which was referenced was conformed on Quantel products for a variety of reasons, the least of which was probably 4:4:4.
Sincerely, “
I can only tell you what I read in Film & Video magazine. May 2005 issue. I don’t see why they would lie about that. It’s a quote from Carl Walters of the Orphanage.
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“I can only tell you what I read in Film & Video magazine. May 2005 issue. I don’t see why they would lie about that. It’s a quote from Carl Walters of the Orphanage. ”
I’m not challenging that, but it’s only part of the story. I think Orphanage did part of the work, but also assembly and color grading was handled by 501 Post in Austin using the Quantel eQ. This has been published and was a key part of Quantel’s demos in their NAB booth. Rodriguez cuts on an Avid Media Composer and also owns a DS, so I questioned the Quantel folks as to why he’d use an eQ. They told me that 501 was used for one of the trailers. They liked working with the editor and liked the results they got, so decided to handle the movie there.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com
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