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November 29, 2012 at 9:52 pm in reply to: Why I will probably choose the Red Scarlet over the Sony FS700.
Also, now that I’m thinking of it, I’ve already invested in twixtor, and 120fps in 1k + twixtor would probably be enough to achieve believable results for what I’d use it for
November 29, 2012 at 9:49 pm in reply to: Why I will probably choose the Red Scarlet over the Sony FS700.
Any opinions now on this, guys? I mean, I know the blackmagic and fs700 are two different beasts, but maybe you want to clarify on your ‘hype’ statement? Because after all the initial balloon popping videos and low-light comparisons, I haven’t really seen much commentary on the camera overall; good or bad. Maybe the BMCC, Sony cams, and RED price drops have been taking over the news. With all that I can’t help but thinking the fs700 might see a lil price drop.
But at the same time, I’m seeing some good barebones scarlet packages popping up on reduser for 9000… So now, I’m in a quandary: if I’m going to be saving up a bit of money to look to purchase a cam in the next month or so, what to do? Seems like obviously I should think about the style of shooting I’d do. I’d slant to more of the cinematic/music video ‘beauty/imagery’ videos to complement the music I make; not so much narrative, and probably no documentary work. I don’t work in the industry, so I won’t see a ‘return’ most likely on this camera (or… maybe in 3-4 years all of a sudden! lol no)
So do I want low-light & slow-mo capability…. or 4k, high-res and great color push-ability? IS that what I’d be looking at here? (Post-prod isn’t going to affect my decision either way.)I know the 700 can do 4k eventually, but not sure if it’s as good looking as the scarlet, and it’d be more expensive anyway.
June 21, 2012 at 12:03 am in reply to: ProRes vs Native Codecs performance in Adobe Premiere Pro
So I’m using Premiere, and doing my best to learn about codecs and such on my own, and I have a question. I saw an article that says since Premiere edits the native footage (in my case, a 5D mk ii) in it’s compressed codec, Premiere is editing the p frames and other ones. With Apple pro res, it said it’s all i-frames? So when you do splits and color correct separate cuts, it has to re-order the frames for each time you edit the native codec, which is more taxing on the processor than editing i-frames with pro res?
Is that true? And if it is, does it really make a difference?