Angelo Lorenzo
Forum Replies Created
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4:2:0 should be adequate. If you’re shooting skiing then you don’t get any more exposure latitude from 4:2:2 and color contrast should be pretty strong against snow.
I would shoot 50i. 50i and 60i is common for sports broadcast because you get greater temporal fidelity (more slices per time than progressive footage).
In terms of shooting outdoors in the snow, make sure you have ND filters and polarizers. Shooting outdoors in the cold, be prepared to have extra batteries. As temperature falls, the internal resistance of a batter rises, so it’ll die more quickly.
Watch out for condensation, ease the transition from indoors/outdoors and from closed case to open case to let the camera acclimate.
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
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The minutiae of h.264 is beyond me, but I wouldn’t be surprised if it’s attributed to some overall quality tuning changes once partial frames are turned on. Sadly, when you don’t have total control over all settings, most MPEG codecs apply all kinds of automatic tuning very liberally.
You may be better off posting this question on another forum, or in the compression techniques forum on here on CC.
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
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Fallen Empire Digital Production Services – Los Angeles
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Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks
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https://thepostlab.com/pitch-perfect-takes-advantage-of-a-dci-p3-color-workflow/ This is additional reading.
Color space is basically an arbitrary mapping of the color values in a file. If it looks good on a Rec 709 monitor then it’s in Rec 709 space. If it looks good on top of LogC footage, then it’s LogC space. LUTS are just transforms that get you 90% of the way there.
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
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Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks
Can your post production question fit in a tweet? Follow me on Twitter -
What are you doing for these people? Titles? Full frame content? Or plates/overlays that someone else will composite?
Lets assume you’re titles or whatever you’re working on look good on your monitor. It’s Rec 709 (my assumption as very few people work with a P3 monitor).
You use the LogC LUT to brink your work to near the same curve/color response as Arri LogC footage. It will look washed out
Don’t worry about a transform back matching, these transforms are fairly destructive.
Generally, this transformation is requested on material that will be composited. If this is material like title cards…. makes me think the Producer is taking a shortcut and will just slap a single look?LUT over the entire program and call it a day.
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks
Can your post production question fit in a tweet? Follow me on Twitter -
Are you delivering video or titles or what?
Alexa footage’s native color space is LogC. If you aren’t doing any color correction and anything composited into a LogC image should also be considered LogC.
https://www.arri.com/camera/digital_cameras/tools/lut_generator/lut_generator.html Go to advanced, select video as your input and set destination to logC if you’ve done titles or something that is more difficult to match. LUT should get you most of the way there.
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks
Can your post production question fit in a tweet? Follow me on Twitter -
Well the key is VBR. If your file is low-motion then B and P frames are awarded less bitrate. If you try the test on a more kinetic piece of video, you’ll find varying results.
B and P frames can contain varying degrees of information, it’s entropy encoded; it encodes what portions of the image has changed. All-I is a full discrete image every frame.
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks
Can your post production question fit in a tweet? Follow me on Twitter -
Actually, it may be
Main: IBBP
High: IBPhttps://mediainfo.sourceforge.net/en Media info is showing 2 reference frames for Main, 1 for High… it’s a good place to start.
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks
Can your post production question fit in a tweet? Follow me on Twitter -
So far as I know, GOP structure is controlled by profile level.
Baseline: no b frames
Main: IBBBP
High: IBBPhttps://www.eventdv.net/Articles/ReadArticle.aspx?ArticleID=80446
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks
Can your post production question fit in a tweet? Follow me on Twitter -
Besides resizing for the aspect ratio, performance should be near the same. GoPro considers that file to be ~2.7K so a borderline system may see some frame skipping, but this can generally be resolved or avoided if you have a good GPU.
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks
Can your post production question fit in a tweet? Follow me on Twitter -
Skip most online tutorials if they’re done by random users. They most often lack insight concerning the features of the program or the skills used in editing in general.
Check out Lynda.com’s training series as well as the Premiere videos available on Adobe TV and here on Creative Cow. The latter two resources are free.
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks
Can your post production question fit in a tweet? Follow me on Twitter