Jack Shepard
Forum Replies Created
-
Ha… no, appreciate all the info, Andrew. Good to know that the vast majority of it is cooked right into Red already. I really need to utilize Red more – there is so much inside of it that it is easy to miss many of its capabilities. Thanks guys.
-
It’s odd — it only seems to happen when I have sped up a clip and applied a color fx — in other words the clip has multiple facets that need to be rendered.
-
If the reinstall doesn’t work you might also try creating a new project and then try opening the programs within that new project.
-
Could be a color space issue. While inputting try selecting the “scale out of Range RGB values” in the input menu that pops up. That may do the trick.
-
I have edited in 4k with M100 and it does work great – depending on your codec. ProRes always works great and some of the Red Camera files work natively (although I wish they would update M100 to handle the newer files). Not sure about the Sony files. Converting everything to 4k ProRes is a time consuming task I have to say…
With my thunderbolt setup and a fairly fast hard drive I have found that I have no problem with ProRes UHD 3840×2160, a large number of audio tracks, and a fair number video tracks. With the higher 4k resolutions I start lagging without going to a faster raid setup. But, as we talked about, I haven’t noticed a perceptible difference between the end products of the 4k vs 1080p when finishing in 1080p. I’ll take sensor size and the cinematic color richness of the image over resolution any day! If it records in ProRes an added bonus when working in Media 100!
-
There are people far more technical than me, Michael. But in my opinion, I would say no if you plan on finishing in 1080p. At the end of the day, it is going to become 1080p so the extra storage and horsepower needed to edit it in 4k isn’t worth it. Your picture will end up as 1080p.
People often say one of the advantages of editing in 4k is that you have the ability to zoom in on objects much further than if you are finishing in 1080p. I don’t think that is true. I’ve found that when pushing in on 4k (and finishing in 1080p) that even though supposedly I have gained extra resolution it still turns out blurry. I’ve been told that this is due to lens optics.
Most Hollywood films are still finishing on 2k. Unless you are on a gigantic screen you can’t actually tell the difference between 2k and 4k… there is some scientific reason behind motion blur that renders the two almost exact. Apparently, it is not until 60fps you can really tell the difference. And the 60fps version of the Hobbit was not exactly a roaring success! As viewers, we are just too accustomed to the feel of 24 or 25fps.
There is a great article about this I saw recently which I wish I could find to send you. If I find it will add it later.
So, many may disagree with me but I am not on the 4K ever higher bandwagon. Instead, I am on the bandwagon of the cameras that create the prettiest images… which to me Arri is winning.Also, I would throw out that M100 can only handle 4k in some codecs and at some resolutions. Make sure to do a test first with some footage.
-
One raid array that I would recommend is the OWC Thunderbay drives. You can “raid” them in multiple ways and they are blazing fast. But they are thunderbolt and not USB 3.0.
-
Thanks Floh –
Let me ask you this then just to clarify. My object is to scale the images while they are 4k as the image would deteriorate if I scaled them while in 1080p. Can I scale them in a Media 100 4K timeline or in Boris Red (from that Media 100 4k Timeline)… render it and then pull it into a 1080p HD timeline? Would that preserve my “4k quality” on the clip as it is pre-rendered before it is down-converted? Or I could pull that 4k render file back into a bin and then place it in the 1080p program? Hopefully that makes sense!
-
So it works going from M100 to After Effects and then into Premiere… except the audio is a mess. The tracks all switched position and suddenly there are 30 tracks instead of 24. And the levels are all over the place. Hmmmmm…..
-
Thanks Andrew. Premiere, as far as I know, works off the same FCP7 xml system. It has worked fine in the past but I was also going from Premiere to Media 100 and not vice versa.
It seems like no matter what xml you try to import directly into Premiere from M100 I end up with the same error. I tried opening a simple program and doing that as well and ended up with the same error message. The project actually started with someone sending me a Premiere XML and it opened flawlessly. So going the other direction seems to be the problem.
I tried going through Resolve but was having a terrible time relinking media.
Currently one thing that I have tried which seems to be working is to go from M100 into After Effects and then into Premiere. It does work minus a bunch of audio level issues. The next thing I was going to try was to to download the newest AE and see if that fixes some of the audio issues.
I’ll try some of the other things you suggested and see if those work as well and report back. Appreciate the thoughts!