[Mads Nybo jørgensen]

Hey Dan,

Agreed, have you raised this issue with Adobe directly?

You should, as if they are putting their money into developing mobile apps, and encoding out of PPro for Social Media, it seems like a big miss if they can not read/display the HDR source files as intended by the shooter.

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Mads

[Mads Nybo jørgensen]

Hey Tod,

That is a really good point.
I recently shot a small video on my iPhone, using Adobe Rush.
Even that doesn’t seem to take the meta-data across.

Have you raised it with the Adobe development team?

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Mads

[Mads Nybo jørgensen]

Hey Roy,

Adding to Julian’s excellent recommendation.

If you are using multiple actors in the final composit, and in a bit of a rush, you could use a difference key. It will take some planning + you may want to use a programmable motion control rig for the camera.

But you’ll save yourself a lot of time if you accurately storyboard and map out the shoot.

Looking forward to seeing what you’ll create!

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Mads

[Mads Nybo jørgensen]

Hey Kun,

Hate to say it, as I used to love the Red Giant Trap Code Suite.
Except Maxon took it over, and decided to make it near impossible to update Perpetual License.
There is only soo many times one could ask Maxon sales for a price for updating the Perpetual Licence, where they kept on asking “what do you want”.

When so many obstructions are by the company selling it are put in place for getting even a price, any price, then I just gave up.

Sorry, drop trapcode, as there are plenty of serious alternatives out there.

If stubborn 🙂, maybe try to get help over on the Maxon Cinema 4D COW forum.

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Mads
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[Mads Nybo jørgensen]

Hey David,

If compositing for a movie, and your kit can handle it, I would always recommend going for the higher resolution. Depending on your editor, you may even do the compositing in 8K and reduce to 4K in the edit, to allow Zooms and Crops to be applied later.
But, if you are matching the highest resolution of the production, or the desired delivery format, then you should be OK.

With regard to frame-rates, then the production must somewhere along the way have decided this. Normally it is done before starting the shoot.

DCP Codec (or wrapper, some might call it) is something that the cinemas like most.
There are cinemas out there who will, at a cost, convert your ProRes or similar master file to a DCP.

Ultimately all of your questions are relied on what the producer(s) wants.
And, they are normally beholden to a customer, or specs from a distribution company.

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Mads

[Mads Nybo jørgensen]

Hey Dan,

Are you exporting the HDR footage from the iPhone itself?
Sorry, had to ask just to be clear.

Also, out of interest, if not from iPhone, what platform are you editing on?
Mac or PC?

Although there are many devices out there that can shoot HDR, some of them may add a lot of compression for the device to be able to record it locally.
Have you tried cross-convert the footage to another format before editing, like ProRes or similar, and see how that exports out?

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Mads

[Mads Nybo jørgensen]

Hey Ernest,

That is brilliant – I didn’t try many of the parameters, but I did for “Creative Cow” get a very Creative Cow 😀

For anyone else wanting to try it out, go to:
https://stability.ai/blog/stable-diffusion-public-release

Have fun!

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Mads

[Mads Nybo jørgensen]

Hey Ken,

It sounds crazy that a Mac Studio that has been powered down, powers up to tell you what you already know.
Not least as my normal sequence, would always be to shut down the computer first to keep the integrity of the any database/software accessing those external drives. And, then power off the drives.
Times might have moved on, but surely there can be no good reason for a Mac Studio to, on its own, power itself up?
I would look in settings, maybe even the drive settings, to see if you can stop it from happening.

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Mads

[Mads Nybo jørgensen]

Hey Jiri,

Syncing Multicam in Premiere Pro works well most of the time.
Depending on quality of source footage and audio(!).

However, FCPX and PPro uses two very different ways of working with the footage, hence why it it difficult to “translate” the XML.

I have not tried it myself but the XtoCC Help doc suggests:
“Multicam clips are flattened/collapsed to the clips from the active angle(s).”

I would have thought that if you have a multicam with an edit that reveals each camera channel, that you might be able to export that, and just extend each individual camera channel inside PPro on individual video tracks.

Just a thought.

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Mads

[Mads Nybo jørgensen]

Hey Chris,

This is great info, which will save the rest of us time, thank you very much.

I would have thought that a “basic” SRT file would export the basics only, according to whatever standard is chosen?
But that would potentially remove all formatting, including branding and other creative choices.

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Mads