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New FCPX confirmed for December
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[Herb Sevush] “In other words, before we go to 4k, how about going to HD 12 bit 444 for production and 10 bit for distribution, where a viewer could actually see the difference on any size screen.”
I whole heartedly agree.
But it would be an even harder sell.
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10 bit in distribution is an overkill. Very few people if any can see the difference between 10 bit and 8 bit with 14 bit LUT. The tests to break up 8bit with banding are purpose made with this one goal in mind. Might as well watch tests to break up ProRes or DCI or H264/5. 10 bit at data manipulation level-yes.
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[Oliver Peters] “By that measurement, I can simply blow-up a 1080 shot to about 125% and get away with it ;-)”
With HD pix I can routinely punch in up to 150% and get away with it (with a bit of sharpening) … don’t tell anyone I do it though or they might make me stop. 😉
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I’ve routinely blown up Alexa footage to 120% or more and you can hardly see any difference. Baselight and Resolve do the best job of upscaling, but FCP X isn’t bad. AE is a bit better, but not as good as Resolve. I’m sure Quantel is also good, but not available to me. Haven’t tested it on Smoke, yet.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
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Thanks for posting that, it works beautifully. But again, only for one interviewee.
which reminds me of a story (I can see my son rolling his eyes…)
Years ago in the days of 1″ we did a really boring corporate spot with the very stiff and boring VP of some stiff and boring company I have long since forgotten the name of. No cutaways, no nothing, just a 3 minute speech direct to camera using a teleprompter. After the shoot we get a call from the client that we have to remove one of the product names from the middle of the speech. Of course the client didn’t understand what the difficulty with this jump cut would be. What to do?
We had some plans, an ADO blow up that zooms back to full frame as we fly some Chyron junk out to distract the viewer at the cut point being the most prominent, but when the session started we first just made the cut full frame and Boom – it’s invisible.
This VP was so stiff and stationary you couldn’t see the jump cut.
Not believing my eyes, I pulled everyone in the facility into the studio, one at a time, to show them the piece and no one saw the cut. After watching it a few dozen times I could see a little waggle in the bottom of his tie, but that was it.
One of my favorite moments in video.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Herb Sevush] “One of my favorite moments in video.”
So that’s the trick then. Don’t move!
🙂
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