David Battistella
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ust have not seen it “promoted” so I’m just trying to get some clarity on this.
I imagine most people will still to double system, but I like to know that the audio will be full quality which you just confirmed.
Great news.
Thanks Gary.
David
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I’m trying to get to the bottom of that in this thread.
I’m pretty sure it’s double system because there is no mention of the audio record capabilities.
David
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Gary,
Is that recording a 24 bit 48K signal to the stereo file? Like for example, the prores file is full quality or is it just a reference for double system?
David
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[gary adcock] “Once again, just because you handle the files in a standalone environment does not mean that everyone else is doing the same. I know of dozens upon dozens of companies that will never handle ANY files in RAW do to the time and hassle- but to discount or ignore that there are those facilities choose to not ever use the native format would be foolhardy in my business. “
OK. I get your point. But the point is that is it absolutely doable if you want to.
If people want to shoot on a format that is based on a RAW workflow and then ignore the RAW part of the workflow, then it is absolutely their choice.
I’m kinda using it as it was intended and you make that out to be a bad thing?
I’m not pushing one way or another, i’m talking about what works for me.
AVR2 can still be a codec but I never want to look at it again.
David
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[gary adcock] “Please tell me how you are outputting a 4K signal from Final Cut?
if you cannot output a true signal the app is not handling the content IMHO. “I did not say I was outputting 4K I said that the app could handle 4K (frame sizes) as they lifted the 2K limitations in the last release.
Kona 3, Decklink, etc have yet to catch up. 🙂 (that’s the half full way of looking at it).
Typically, on the last pass in Color I render (scaled from 4K) to 1080P Prores 4444 for delivery to SR.
If you want to say that the app doesn’t output 4K so it’s not a professional tool, you have every right too, but I could easily say that 4K is so new to FCP, that the “hardware” folks have not caught up. When they do, I think you will see 4K output from KONA and decklink cards, but delivery will still be 2K/1080P for a while.
To me this is semantics. It’s like arguing that you should not have filmed HD when the predominant market was SD. By this logic, no one should have acquired HD on the first HD cameras because there were few or no output options.
Your post is argumentative because all I stated was that two pieces of software in the apple suite could recognize 4K, 4K timelines are a possibility in FCP. It’s not my fault the hardware has not arrived yet.
You could export 4K DPX or Cineon files from Color (but that is not playback so maybe it does not count in your world).
David
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Gary,
Vaild on all fronts.One small correction is that Apple Color 1.5 and FCP 7 do actually handle 4K now.
I realize that AVID’s high cost an no upgrade path combined with people not wanting to change things means some things are still being edited at AVR2, and it still shocks me that production allows us to be placed squarely 12 years behind, but hey. it is what it is.David
Peace
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Gary,
I finish regularly from R3D files through Apple Color, off the shelf software. I do not know why more people do not finsih this way. There was a fellow who did image comparisions between RedCine-X and Color 1.5 and the 4K tiff’s yeilded the exact same image quality.
It’s actually easy to finish with R3D if you know what you are doing? (and I know you do)
Look for RED to come out with “codec” modules (not just h.264) with the EPIC.
Doesn’t the ALEXA have the same PL lens issue you are citing with the RED (it’s a plus for one and a minus for the other?
David
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[Pat McGowan] “Plus we are in a backwater market…..with big market aspirations. “
Ottawa is my hometown. 🙂
But toronto is home.
David
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Pat,
It all depends. I think that there will be a big rush on Alexa when it comes out. If you are a rental house and DP’s on big shows are demanding it, well, you sort of try to provide that camera.
If you are running it as an “in house shop” then the technology arguement doesn’t really matter because you do not have to keep up with the joneses and you do your production according to how you ahve laid out the outlay for the gear.
Alexa will be a high cost compared to EPIC but low cost compared to FF35.
David
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Very eloquently put Gary. You make many very valid points and I think you are correct on many fronts. I thought initially RED would be a suitable replacement for 16mm film workflow, but in the case of NFL films it became obvious that it was not.
It will be nice to see the Alexa up close. I know that there are about 40 on order in Toronto.
David
Peace