Dennis Hingsberg
Forum Replies Created
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The button is there as you see in the screen shot, but doesn’t seem clickable for me even though if I hover over it is says “apply to all..”
I am using the Lite version of 9 – could this be why? But on BMD’s website under R3D is shows full support except it says “NO for “Individual DaVinci Resolve Control Surface controls for all parameters.”
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StarCentral.ca | Filmmaking Blog -
this is what I have selected, but like I said once I go to the COLOR panel in Resolve the clip does not have my settings applied (even though I see the changes take effect in the MEDIA panel preview window)
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StarCentral.ca | Filmmaking Blog -
Thanks for your reply, but I can not get it to work.
After bringing the clip to the MEDIA POOL and selecting “Edit RED Codec Settings”, all the settings are greyed out unless you select DECODE USING: CLIP. This lets me apply REDcolor2 and REDlogFilm, but once I go to the COLOR panel in Resolve, the clip still has original clip settings not the new ones.
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StarCentral.ca | Filmmaking Blog -
Anyone like these images? Surprisingly shot in 8-bit 420!
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Filmmaking Blog
See what’s shot on the F3 @ ShotOnF3.com -
Seems like a bit has changed since my initial post after some preliminary pricing was leaked out of Japan.
The AXS recorder may only be around $5000 USD, so combined with the HXS adapter for $2000 things start to look a lot different.
But for that money you really really gotta love your FS700 because in reality you’ll be investing almost the cost of the camera itself in the extras to shoot RAW not to mention the new memory cards that will be needed.
The FS700 has better low light than RED and has advantages being able to shoot internally with a codec for quick turn around jobs.
It will be interesting in the next week or so as official pricing is released on the F5, F55, HXS module, and AXS recorder.
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Filmmaking Blog
See what’s shot on the F3 @ ShotOnF3.com -
First, I am not a fan-boy. I own Canon, Sony F3, and RED. I don’t care about models, brands or companies. I care about how the tools will help me produce the best work that I can possibly render.
As a F3 shooter for a year and avid follower of the new F series cameras and developments I’ve been getting into a lot of discussions on DVXuser about the FS700.
#1. Internal Codec: It only records 8-bit 420 internally. This is okay for most things, and can endure a little grading despite what anyone is telling you. There are those people who just want to start with the absolute BEST so they are sure that the work looks its best when graded and don’t want any limitations imposed on them. Good for them. Then there are those who tell you that lighting and lighting control of your scene are most important, far more than any codec. (that would be my angle.)
#2. Unacceptable HD-SDI: If you want to shoot a feature film you should do it in the highest bit-depth and color space possible. If you haven’t shot or completed a feature film, you can’t possibly appreciate why I am saying this. Unfortunately even though the FS700 has an SDI port it can only output HD in 8-bit 422. The F3 for example does it 10-bit 422 but you pay a lot more for the camera. 8-bit gives you 240’ish shades of grey, 10-bit gives you FOUR TIMES that. When you shoot a feature 100 things are inconsistent and 10-bits will be the only way to even out tones from scene to scene, correct color and finally grade your film if you do so chose to.
#3. 4k RAW recording: Just announced THIS week is the fact that to use Sony’s new recorder planned for the new F series CineAlta cameras you will need to buy the Sony HXR-IFR5 for $2000 which is an intermediary module used to go between the FS700 and the Sony AXS-R5 recorder (no price on that buy $9k-$15k expected, some have rumored $6k).
#4. Single 3G SDI port: So far, no body makes a recorder to record RAW over a sinlge 3G SDI port. The AJA KI PRO QUAD I don’t believe has 3G ports, only multiple 1.5G ports. Convergent-Design is trying to figure out a way to get is new 4k Gemini Recorder to work with the FS700. It;s price will be $9k-11k. Media not included.
RAW media costs $1500 to $4000 per 512MB depending on who’s you are talking abut. 1TB stores 60 minutes of RAW footage.
In the end, if your goal was cinema I think it is FAR cheaper and proven on option to shoot with the RED Scarlet or RED ONE MX camera. It is 16-bit RAW internal recording to cards, and is much more an industry standard than the FS700.
If you’re a hobbyist the FS700 might be for you if you can bare the hefty price tags (and storage requirements) associated with 4k 12-built RAW. If you’re a professional or looking to work as a professional RED carries not only a name, but a true sense of comfort knowing it is proven in the industry now for well over 6 years.
In the end, the decision is up to you.
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F3 blog http://www.hingsberg.com
See what’s shot on the F3 @ http://www.shotonf3.com -
Check the file permissions of the folder where your XML files and MP4 files are located, you should try right clicking on the entire root folder BPAV or CLPR and cascading new permissions down to all files to have full read/write access..
I thought of this in my sleep last night.
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F3 blog http://www.hingsberg.com
See what’s shot on the F3 @ http://www.shotonf3.com -
Sorry if this is obvious reply, but did you double click (open) the clip first and then try typing on it? The clip must be opened in order to unlock the grey field boxes.
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F3 blog http://www.hingsberg.com
See what’s shot on the F3 @ http://www.shotonf3.com -
Not sure but you can try downloading XDCAM clip browser v2.1.
v2.6 is the XDCAM EX specific clip browser. I think the regular XDCAM browser is more generic and might work for you.
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F3 blog http://www.hingsberg.com
See what’s shot on the F3 @ http://www.shotonf3.com
