Gary Huff
1
COW Coin
Forum Replies Created
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[Warren Eig] “It’s a project in conjunction with Red (sensor) Light Iron (Color science) and Panavision (Design and lenses).”
Light Iron is the DIT cart. Therefore the color science is REDCOLOR sent to a DIT cart and recolored there. Probably some custom LUTs or Red looks.
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[Alexander Peri] “footage that is almost comparable to RED/Alexa in decent light”
By “decent” light do you mean outside and primarily lit by the sun? Indoors with a typical Kino Flo package? Arri/Mole Fresnels?
[Alexander Peri] “with great space for grading etc. “
What do you mean by grading? Do you grade your own work? Where does the footage go? Is it done in Resolve? Premiere? FCPX? Are you shooting LogC with the Alexa primarily? Have you ever graded LogC footage?
[Alexander Peri] “Black Magic Ursa Mini 4k “
I would absolutely not consider this camera in your position.
[Alexander Peri] “GH4 with cage, Atomos monitor,”
Scrap the cage, and the use of the Atomos is rather dependent on what your description of your grading process is.
[Alexander Peri] “Black magic micro cinema camera with black magic external recorder, cage, mic, tripod and steadicam + 2 lenses. (fits in budget)”
This would be okay, scrap the Steadicam idea. Learn to walk before you start to flight. Forget the cage. What kind of mics are you considering? Shotgun? Lav? Wired? Wireless? What is your typical use of mics in your experience on set? Walk and talk? Sit down talking head?
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[Bill Davis] “So when VR started, I once again went through testing and FCPX just sailed through stuff that other programs just chugged on. We’re cutting 8k native on a few generations ago iMac and it just handles it without a problem.””
B.S., I don’t buy this for a second. It’s not magic, and FCPX may have access to APIs and other tricks that normal apps don’t have (given that it’s Apple’s own OS), but it cannot outshine everything to the level of 8k native over everything else. I think this is highly exaggerated, or phrased in such a way that the specifics wouldn’t be as impressive as saying “8k native”.
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[Bryce Moose] “found a support article on adobe’s site. Someone suggested this. “
That “someone” is thinking too hard about a setup that is not an issue. You should have your device’s internal SSD for the OS and software, and then the fastest RAID 0 (if you have a good backup system) or RAID 5 setup you can afford. That’s it.
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This is actually really impressive.
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[Tom Sefton] “For a step down to pro res”
Which requires rendering time, just on the front end, and it’s why I argue for proxies and ProRes transcodes, but I still get projects with all .R3D source footage.
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[Tom Sefton] “For instance – I can play 6K r3d footage in FCPX at a lower quality setting. I can edit smoothly, apply a transition and finalise a cut. I can even create and edit multicam sequences that playback smooth enough. I’ve got some projects that include 40hrs of 4k r3d footage which is easily manageable.”
That’s great, a common refrain, which is why it is meaningless. Sure, you can playback that kind of footage when you’re taking shortcuts with the debayering, but when it’s all said and done, you still have to render it out, and if you’re in crunch time mode, and that smooth playback turns into a 5 hour render, that’s where things get messy. So what is the final render time like, especially with plugins added?
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[Ricardo Marty] “Now imagine with this camera on te head of the prime actor.. An experience never before felt”
Which doesn’t work if you know that you can simply turn your head around and see the crew, including the safety units and everything needed to ensure that no one gets injured. Unless you’re planning to paint all that out.
Otherwise you’re talking about locking the viewpoint, which then turns the goggles into simply a virtual bigscreen like those devices you see advertised in Skymall.
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[Eric Santiago] “I for one avoid QT player on the Mac itself these days. I use VLC or host NLE.”
Same here.
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[Oliver Peters] “Huh? Avid and Avid do license ProRes from Apple. That’s how they can write ProRes media on the Macs.”
I was under the impression that they use APIs under OSX to actually do this, previously through QTKit and now under AVFoundation. Resolve also will read/write ProRes on a Mac, but not under Windows.
I am also under the impression that most of the Windows products that write ProRes QuickTimes are reverse-engineered and in some gray area where they are not officially supported ProRes renders.