Keith Pratt
Forum Replies Created
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Noah Kadner: “I’d be investing in a high end set of lenses. Something like the Zeiss compact primes. Then you can roll with whatever the body camera du jour happens to be.”
The thing is, at 18mm, the widest Compact Prime isn’t wide enough on the AF100. Fast wide-angles are a real problem for m4/3.
Brent Dunn: “Well, we all know they can do firmware upgrades to give us ProRes recording, or other format choices. But, they can’t make money off of firmware upgrades.”
HDCam-SR is Sony’s ProRes, and the upgrade path seems to be their upcoming solid-state SR box. But this box will surely cost way more than the camera…
I actually don’t think Sony know where they’re going with the F3. They’re marketing it as a baby F35, and at the same time claiming it’s 4:2:0 because it’s part of the EX line. They’re bringing out their own set of cinema-style primes, but there’s a zoom rocker on the side and the suggestion of an ENG-style zoom. That Sony offer so many different camera models makes this one look like it’s having an identity crisis.
But anyway, the more important point is that in 2011, professional cameras should not be recording 4:2:0. Somebody needs to let Sony and Panasonic know.
Beom Koh: “I know that RED makes some nice cameras”
Until I see living proof, Red makes a nice camera.
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David Roth Weiss: “I would imagine that Apple ProRes and Avid DNX have pretty much made Sheer pretty useless.”
I suppose now that ProRes is playable on Windows and editable in Avid, there’s not much Sheer offers beyond it for most people.
Rafael Amador: “The last Sheer update is around one year old, but for me this only means that there is very little left to implement.”
That’s more recent than I would’ve bet going by their site. The PhotoJazz page of their site has been returning a 403 error for weeks now. Assuming they are still in business, they should make sure their site gives that impression…
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I think Daniel meant for you to use the x264Encoder component on the ProRes file you’ve been sent. If you don’t have Quicktime Pro you can use it via MPEG Streamclip.
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Can’t offer any conclusions at this juncture, but I’ve just started looking at using Amazon S3/CloudFront for this kind of thing…
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Their inability to play the video has absolutely nothing to do with it being PAL. It’s ProRes that’s the issue. So either they need to fix their inability to play ProRes or you need to send them the video in another codec. You could try H.264 or Motion JPEG. But don’t change the frame rate or resolution.
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Just to expound upon what Jeremy’s said:
I think I’m right in saying HD-SDI is necessarily 10-bit. The only question is whether it is a genuine 1024 gradations or a “padded” 256 (8-bit).
The three pivotal points in image capture are:
Camera sensor’s A/D
Camera’s processing
RecordingThe Sony F900R has a 12-bit sensor A/D, 10-bit processing and onboard 8-bit HDCam recording. Record the live HD-SDI feed and you’ll get genuine 10-bit.
Not sure of the Canon XL-H1’s A/D, but its 8-bit processing, which is (necessarily) done before HD-SDI output, means you are getting 8 bits padded into a 10-bit signal. So in this case, yes, the damage has been done.
Something can be gained by interpolating the 8 bits into 10 — and some hardware, as well as the likes of Cineform’s software, might do this too — but it’s not going to be as good as recording genuine 10-bit in the first place.
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Eric Holzapfel: “I know that a famous photog and artist (Robert Wiengarten) makes prints as large as 40×60!
I am trying to find out what dpi is digital images are captured at, and what he prints at.”For prints of that size the norm would be to use medium or large format; in which case the DPI would not be directly comparable with 35mm.
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I wouldn’t think of RAID as “backup protection” — more like downtime protection. Whether you work from a RAID or not, you’re playing with fire if you don’t have backups kept at a another location.
With regards to how big a RAID you need, a big question is whether you’re efficient and organised with projects once you’ve finished them.
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Sounds like it’s definitely worth giving the Kona a go before looking into alternatives. Thanks for the replies.
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The Canons run at around 40Mbps.
And that’s not how compression works. When you recompress video it must be decompressed in the process, meaning every cycle will add its own batch of compression artefacts. Uncompressed would be the only way to ensure the image is perfectly maintained (not strictly true in this case as there’s no uncompressed codec, as far as I’m aware, that matches the 4:2:0 full-range Rec.601 video the 5D spits out). In practical terms ProRes loses nothing until you hit double-figure reencodes.