[Mark Thompson]

that made me laugh ☺ I blame it on the camera guy! To be fair it was a mixed lighting scenario, plenty of light there just not on the faces of the presenters.
Good point about H265 but if it is a feature of Premiere/AME it should at least work.

[Mark Thompson]

I thought I would chip in and add to the confusion ☺

I believe the main factor is the size of the photosite, the bigger they are the more photons they can collect. That gives the best chance of lower noise when when that photosite is read. So in theory a Full Frame sensor should do better than S35. Of course all the other things that affect photon count come into play, for example shutter angle and of course the lens you put on. You are more likely to put an expensive prime lens on an ARRI.
Full Frame sensors often have more photosites, so the photosites are not necessarily bigger.
I think ISO is just a courtesy to the film guys, that circuit is really just an amplifier. So if you have a noisy chip the amplifier will increase the noise along with the picture.

Noise reduction is just remediation for the noise. It may work well, or it may not. Look at the instructions for Neat. They sometimes help but sometimes do not.
Some manufacturers are putting electronics next to the photosites. That can reduce the noise upon readout (Sony). RED use a different way of encoding the picture (Wavelet compression).
There is also “native iso”, a setting that gives the camera the best performance at that gain/iso.

The best approach is to do a camera test with the rig you intend to use.

[Mark Thompson]

thanks very much!

As it happens, they put this panel on YouTube:

https://www.youtube.com/watch?v=nygMjfv5Isc&t=1122s

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[Mark Thompson]

I found a bit of an answer near to me, as to the growth that is, there is a company called Cinelab that started up a few years ago. Formed from the remnants of the companies that did really well when film was popular. Reading the blog part of the website, demand has grown over the last few years – from amateur to professional movies.

They still don’t really address why film is better but as long their business grows…

https://www.cinelab.co.uk/

[Mark Thompson]

For example ARRI’s offering in this area:
https://www.arri.com/en/arriscanxt
I’m making an assumption that device has an ARRI XT chip inside.

So why not just record on an ALEXA SXT ?

I did find another resource:
https://www.youtube.com/watch?v=ffxd_FEQHCQ

However, in there, only Geoff Boyle even mentions Digital Intermediate. They are deftly avoiding what happens afterwards (i.e. after conversion).

Also IMAX is the unquestioned leader in resolution. However due to the expense and difficulty of changing film I read somewhere that IMAX films mix content filmed on the camera with content filmed on lesser cameras. I’m thinking of the Shuttle and ISS movies. Don’t quote me on that I can’t recall the original source.

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[Mark Thompson]

but nevertheless sucked up all the budget that could have been used to improve Premiere Pro ☹

Adobe may want to cover the YouTube generation, and that’s fine, but can they reach them with a subscription ? Given they already cover that sector with Premiere Elements?

It may also cover that familiar Software trope that if you could only start over you could end the limitations caused by an inherited architecture. So Rush could be the future Pro.

[Mark Thompson]

Hi,
you can use programs like MediaInfo https://mediaarea.net/en/MediaInfo
to find out the codec – or even get properties on the clip in the timeline or project on Premiere.
There are a few other programs that do the same.

I’m using CC 2019, if you have a very old version things might be different.

Audio problems can be quite a few things.
On Premiere you can edit the clip in Audition. Particularly for MXF files, start audition standalone and then in premiere select “edit clip in adobe audition”. Right click the clip on the timeline.

mark

[Mark Thompson]

MXF is a container format and Premiere Pro has supported it for some years. That doesn’t mean the content (the essence) is supported, it is possible that a new codec or an improved existing one can sometime confuse Premiere. However usually the new codec is supported before too long.

I’ve been using MXF and XAVC from Sony cameras for quite a while and I don’t really give it a second thought – it just works. The Media Browser imports the footage for you.

If you want to be hyper cautious then get some sample footage from the camera and edit it. I think it is worth doing this for any new camera. Particularly for footage shot in low light.

For newcomers to MXF, that standard calls for 8 audio tracks which can be a little overwhelming. I usually do smaller projects and you can easily delete the unwanted empty tracks.

What can be confusing is when adding a clip that has the 8 tracks to a timeline with other clips that have 8 tracks as it is easy to suddenly have 16 tracks -). So you need to understand Source Patching and Track Targeting. This is a good video that explains it:

https://www.youtube.com/watch?v=tWkW903Juwk

However there are sever other videos that cover the same thing.

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[Mark Thompson]

that’s very interesting. Problems like this have been reported for a while, not very often and nobody has really investigated it to completion.

Have you been able to compare the files (good and bad) to see if they are different?

mark

[Mark Thompson]

your hardware looks good.

I have a 4k LG monitor, what size do you have?

When I did have the problem, I could open on a 1440 monitor, also attached.

I think it is a Software problem and should be reported as a bug.

mark