Angelo Lorenzo
Forum Replies Created
-
I’ve not tried converting a camera but my general thought is the only conversion you can make is independent gain for each chip.
You’re already generating the possibility of an HDR black and white image just from the color image. Just use after effects to seperate channels, you can run out each channel and convert to HDR in Photoshop or Photomatix Pro.
I’ve tested it, and to be fair, unless you have large differences in the channels due to having objects in strong primary colors, you really aren’t ending up with a true HDR level of detail.
The independent gain is the key.
——————–
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 -
VLC won’t play ProRes regardless if I recall correctly.
What error does Premiere Pro give you? Missing codec?
https://support.apple.com/downloads/Apple_ProRes_QuickTime_Decoder_1_0_for_Windows may be worth grabbing, maybe it’s a legacy compatibility issue.
——————–
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 -
The Q9550 is older and uses a different architecture than the i3. It’s difficult to make a direct comparison unless you look at benchmarking.
With that said, you should base After Effects multiprocessing off of physical cores. with the Q9550 you may be able to set multi processing to 2, but with the i3 you would be limited to one core (might as well disable multicore). How much RAM you have may actually be the deciding factor in optimizing that along with what effects you use.
AE multiprocessing tends to be buggy or counter productive when using any time remapping or noise reduction; using effects that reference or calculate off the results of other frames. AE multiprocessing, in some instances may be slower than allowing the CPU to use all the power on a single frame at a time… really depends on what you’re working on as well.
——————–
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 -
What dSLR are you using? Is there proper timecode embedded into the file?
——————–
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 -
https://www.anandtech.com/bench/Product/50?vs=289
Benchmark with the Q9550 and i3 2100. The 2120 will be a few mHz faster. As you can see the 2100 performs better overall. The video benchmarking does improve ever so slightly with the Q9550, but considering the 2120’s speed improvement, it might become even.
The i3 uses a DMI instead of a separate front side bus, so you should see overall performance gains just from the architecture.
——————–
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 -
Its gone, overwritten is overwritten. Premiere is unlike Audition in that Audition does, confusingly, allow overlapping blocks of audio in the same track.
——————–
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 -
Two ways of going about this.
First is if your DNxHD footage is something high quality like 185, 220, or 220x.
Take your edit into Resolve and begin grading. Have your DP export 1080p DNxHD and then replace those portions/regrade in Resolve.
Second way of doing this if you have a proxy DNxHD file like DNxHD36 is to bring your edit into Resolve, conform your edit to the original files. Begin grading and then incorporate your DP’s footage and just make sure they render out DNxHD at a high level; again something like 185, 220, or 220x.
In either case you aren’t recutting the length of material so far as I know, so no reason to revisit Premiere.
——————–
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 -
It’s lossless, but since it’s basically an uncompressed image sequence it will be as demanding on your system as uncompressed video. You may not be able to play it back at full speed unless you pre-render or render a deliverable.
——————–
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 -
Not really. this is a workaround:
1. Set start time of your sequence to the start time of the first clip
2. Place two of the same clip on the timeline: one in video/audio lane 1, the other in audio/video lane 2. Select them and right click, select synchronize
3. In the window that pops up, select timecode. You should notice that the timecode starts at the same spot as the clips; no need to alter it. Hit ok.
4. Delete the contents of the timeline for now.
5. Place each clip in a different audio/video layer of the timeline (sucks, I know), select all, right click and select synchronize.
6. Timecode will be grayed out but, thanks to steps 1-3, will still be selected. Hit OK
That should do the trick. Nest the sequence and it should act like one continuous video file.
——————–
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 -
Why not just work with all the cameras and audio tracks in one sequence? You place a marker on each asset to sync to marker and then nest it to enable it as multi-cam. Seems like a merged clip, in this situation, is a wasted step.
——————–
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