Forum Replies Created

Page 59 of 180
  • Gary Huff

    April 24, 2014 at 11:53 am in reply to: But it’s a DRY camera heat…

    [Bob Woodhead] “Have you looked at their (fairly new) cine primes? I’ve been A/B’ing them against the Zeiss CPs,”

    Zeiss is more neutral, if not leaning very slightly towards the coolish end of the spectrum, while the Canons are warmer. Personally, I like the warmth of the Canons.

  • Gary Huff

    April 24, 2014 at 11:52 am in reply to: But it’s a DRY camera heat…

    [Bill Davis] “That comment Black Magic’s Dan May made to me about the URSA being “water cooled””

    [Bill Davis] “Clearly, these new sensors are generating a boatload of heat.”

    Water cooled? BOATload? I am sensing a connection here…

  • Gary Huff

    April 19, 2014 at 6:30 pm in reply to: OT: Hit Film For Mac

    [David Mathis] “It looks like it could take some steam of the After Effects locomotive.”

    Have to be heavily revised. Back when the Kickstarter campaign for the Mac version was announced, I believe it was discovered that HitFilm isn’t even in the same ballpark.

  • Gary Huff

    April 19, 2014 at 11:36 am in reply to: OT: Hit Film For Mac

    [David Mathis] “It is $499, permanent license. :)”

    And all the tools you need for your next Fan Film!

  • Gary Huff

    April 18, 2014 at 9:24 pm in reply to: OT: NAB and Cow friends

    I heard that AJA wouldn’t let you near the CION without having downed at least half a bottle beforehand 😉

  • Gary Huff

    April 2, 2014 at 7:28 pm in reply to: Cool new Adobe stuff to debate…

    [Marcus Moore] ” At least one thing FCPX has had since launch: pitch-shift scrubbing.”

    Yep, pitch-shift scrubbing is totally worth entirely scrapping your Adobe-based workflow for FCPX.

  • Gary Huff

    March 31, 2014 at 8:53 pm in reply to: So anyway, 4K

    [Lance Bachelder] “If I was to actually shoot with the GH4 I would want to test the 200Mbit 1080p vs. the 100Mbit 4K – which in camera is a lowly 25Mbit per 1080 quadrant. Which means the 1080p recording has 8 times the data of the 4K internal!”

    I would rather record out the HDMI to ProRes HQ at 10-bit 4:2:2 than 200Mbps 8-bit 4:2:0. That sounds like overkill.

  • Gary Huff

    March 31, 2014 at 7:09 pm in reply to: So anyway, 4K

    [Franz Bieberkopf] “As an example, additional graphics cards aren’t going to benefit a FCP7 ProRes edit.”

    Yes, you’re right. Nothing to be gained from going the GPU route for a Final Cut Pro 7 workflow. Curious as to why a 2011 Mac Pro would even be purchased, as a 2008 would be more than enough.

  • Gary Huff

    March 31, 2014 at 5:49 pm in reply to: So anyway, 4K

    [Lance Bachelder] “I plan on shooting my next feature in 4K – possibly even the new GH4 but will have a better idea after NAB next week.”

    Ideally it would be after Atomos comes out with their 4K HDMI recording unit that is heavily rumored to be announced (unless you plan on using the YAGH, but that will require 4 SDI connections to get 4K, which seems a bit much compared to a single HDMI cable).

    Internally, 4K on the GH4 is basically just AVCHD.

  • Gary Huff

    March 31, 2014 at 5:47 pm in reply to: So anyway, 4K

    [Franz Bieberkopf] “Thanks for the suggestion. I’m wondering why you would recommend more graphics power.”

    Because GPUs are being used in conjunction with CPUs now for processing video content. With a Red Rocket, it won’t be as needed at the moment (though I’m hoping for a RedCine-X workflow that can use both in tandem).

Page 59 of 180

We use anonymous cookies to give you the best experience we can.
Our Privacy policy | GDPR Policy