[Aaron Star]

Make sure to use the match media tool under project settings.

Then check the = check box in the render as dialog box. Then use only the profiles that match your project settings. Do not create your own profiles useless you know what you are doing.

Thus assumes you are using vegas 13.

[Aaron Star]

+1 Cow Culling, which sounds much more clinical than slaughter.

[Aaron Star]

I think 60p is the new 24. You have an entire generations of gamer types that see 60p+ as the way to view action in video, and the rest will just follow like lemmings.

[Aaron Star]

I believe it must have to do with recording to a specific format that does not need to be converted. For example:

Arri – records to ArriRAW and Prores, where as the ninja would allow you to record stright to DNx for AVID.

Canon C100 – has 10-bit output abilities but only records internally to h.264 about 28Mbs, so again the Ninja allows direct optimal format recording for AVID or Final Cut NLEs.

Possibly recording proxy versions of raw footage, which might save space on master media, which increases recording times.

[Aaron Star]

And like the people over a Nokia were famous for saying about the drop test. “That dude is going to need a new phone…”

[Aaron Star]

There is a new 8K camera released by Panavision this week. Like my prior post stated, a “Professional” NLE should be capable of handling the workflow of a camera like this. Mainly it looks like Panavision has rolled their own version of the RED Dragon 8K camera, so support for the latest versions/functions of R3D is extremely important. No one will take a “Pro” product serious if it cannot handle “Professional” level of work.

https://DXL.Panavision.com

Here are the stats:

Sensor Type
16-bit, 35.5 Megapixel CMOS

Resolution
8192 x 4320

Sensor Size
Large Format: 40.96mm x 21.60mm (Diagonal: 46.31mm)

Dynamic Range
15 stops

Max Frame Rate
60 fps at 8K Full Frame (8192 x 4320), 75 fps at 8K 2.4:1 (8192 x 3456)

Recording Codec
8K RAW with simultaneous 4K proxy (ProRes or DNx)

Recording Media
SSD (up to 1 hour on a single magazine)

File Type
.r3d (supported in RED SDK)

Color Profile
Light Iron Color (compatible with all popular gamuts and transfer curves)

Weight
10 lbs.

Additional Features

• 6 independent video outputs
• Supports 6 independent 1D LUTs or up to 4 independent 3D LUTs
• Directly motorize Primo 70 lenses through wireless control
• Built in wirelesss timecode for genlock (Ambient Control Network)
• Dual menus (Operator side, Assistant side)
• Advanced airflow system for superior temperature management
• Custom cheeseplate with integrated electronics
• Modular and tooless quick changeover accessories

[Aaron Star]

You will habe to just do some tests on your own, but my guess is lenses from that Era used a servo to turn the manual gears. Today they do it the opposite way, and the ring tells the servo how much to turn.

[Aaron Star]

You need to determine if you can run old school still film lens on that camera. The old school film lens will have a physical focus gear and iris settings. You can feel the resistance in the focus ring when you have a manual ring. Film/Cine lens have a more accurate stop or light transmission, sharper optics, better optics coating, and better distance markings for pulling focus like you are trying to do.

The kit lens for your camera is likely automated or servo controlled, and not returning to the exact position you have marked. Most kit lenses are pretty loose in the accuracy of manufacture, and rely on the electronics to keep adjusting the lens until the camera see what it wants in focus.

There are a variety of focus pulling add-ons out there. Try and find one that has physical stops, because operating and pulling focus at the same time is hard, and almost impossible to hit your mark on the lens due the angle.

[Aaron Star]

Timecode slate is how most sync multiple cameras. Slate has running TC via a display, that is synced to the audio playback TC. Most pro editing software will sync your tracks automatically via TC. Each camera shoots the running TC at take start. Then you set the TC on the camera file via the editing software based on what you see on screen.

“pluraleyes” is another option, that will sync audio tacks of multiple video clips to a master audio file. Some editing software has this function built in.

[Aaron Star]

More robust support for 32-bit Full level real-time playback of DPX-16 and EXR.
• Layer support for EXR, plus updated EXR support in general to include compression modes

Support for 32-bit Full level real-time playback of ArriRaw, and latest Redcode gamma formats. Recommend not supporting Sony Raw, because I am mad at Sony right now.

Drag and drop RAW support for Canon and Nikon formats with Redcode like tool for adjustments.

Upgrade the OpenCL version to include multiple GPUs

Re-Build to support CPU advancements like AVX2 or AVX-512

Update the resolution support to 8K by 8K, when 16K x 16K would probably be wiser and more long term.

Diagnostic page/tab/help menu/ or applet that verifies application current build:
memory bandwidth
CPU instruction support
GPU interface speed
GPU GFLOP rating
OpenCL operation
NVME check, SATA interface speeds, disk speed check for support for codec levels.
Real-time playback supported for x,y,z codecs at standard levels.

This would very useful for ferreting out people with archaic systems and outdated application versions. This would also show people with laptops see where the issues are with the chosen hardware. The app would offer suggestions for area’s to improve, and possibly look like a cross between Windows Performance Score and Blackmagic’s Disk Speed.
Optionally alert users to DMI bandwidth issues based on where storage is connected for a given detected chipset.
Check system for DPC latency driver issues that might impact real-time playback
Possibly even include a restart mode to verify memory with memtest86, SFC scannow, and report the results.

Improved Scopes:

Scopes should changes numeric scales bases on the video project mode. Current the scales are the old school NTSC %.

There should be a drop down that sets the scales to user defined values or have the values automatically expand based on media match or project mode.

Waveform
○ Would be nice to be able to select between % and scale reading.
○ 16 and 253 lines added when in the right mode, possibly select different “green scale” overlays
○ Real time update/monitoring of a live source, even if this has to be inside an updated Capture utility.

Vectorscope
○ Add skin tone lines

Histogram
○ Here again the scale needs to update base on project mode, 0-255 does not work for 10bit+ sources.

RGB Parade
○ Here again the scale needs to update base on project mode, 0-255 does not work for 10bit+ sources.

New zebra overlay mode on preview monitor for highlights and blacks out of range

Improve on QuickSync support with Vegas, or possibly add support for NVENC or AMD VCE included with new GPUs?

Support greater than 5.1 Surround modes.

Auto Audio sync of multicam via waveform/detected audio. Possibly audio channel timecode detection, as this would allow TC to be feed to multiple DSLR

Ability to setup Vegas project folders into structures like:

CAM-A
CAM-B
CAM-C
AUDIO
FX
CG
MUSIC
Vegas.VEG

Then keep that structure when you want to archive the project via the copy media and trim function. Currently all folder structures are lost when the “SAVE AS-Copy media with project” mode is used.