Michael Gissing
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COW Coins
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DaVinci Coins
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Solve Coins
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Unless he allows BRAW on the older Ursa Mini 4.6 it’s my only choice for RAW. I will be jumping into a BMPCC4k soon and I wish I could just have one codec on both cameras but I’m reading the tea leaves that the older minis are left behind. Shame to not support those of us who waited patiently and supported the 4.6
cDNG is a cludge in post.
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[Shawn Miller]”Speaking of BMD cameras…”
Looks like BM are out of the NAB blocks early. I woke up to the dulcet tones of Grant Petty talking about BRAW for the BMPCC4k and the new gen Ursa Mini Pro 2. I think my earlier comments about ProResRAW are accurate for BM. BRAW is moving fast and they are dropping cDNG. No mention of ProResRAW.
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I love the fact that Gerry Hambling was still cutting on a Moviola until 2003. He’s set the bar high for you Nick.
https://alanparker.com/essay/gerry-hambling-obituary/ . I loved the chance to talk to Gerry about his craft at the wedding of his son Robert to my cousin Adrienne.
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[Oliver Peters] “Both ARRI and RED can do ProRes in-camera”
As does Blackmagic. However ProResRAW is a totally different prospect for them all and highly unlikely they will want their sensor data handled that way.
Personally I would be happier if they all dropped ProRes for DNx.mxf
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If Apple and Atomos are willing to share ProResRAW with the rest of the world then I have no doubt that Blackmagic will support it in Resolve. I highly doubt they will on their cameras, considering they want to push BRAW which seems to have many more advantages in camera and in post. Grant Petty has publicly shown little enthusiasm for ProResRAW but at the end of the day they are pragmatists. Personally I would not want to see another Apple proprietary format in cameras.
If I was a camera maker choosing between a more open RAW format like BRAW and a proprietary RAW like ProResRAW, I wouldn’t choose ProResRAW. However if Apple decide to shun BRAW in X, then it will be interesting to see who blinks. Arri are the main camera player so my guess is they won’t touch either for the time being and see who’s RAW format becomes a standard. Even then they have their own RAW format so why support another? Red won’t either is my guess. Sony unlikely. Panasonic? I wonder if Atomos will add BRAW? I can see a couple of Aussies nutting that out over a beer at NAB.
Could be the start of a long tit for tat between Blackmagic and Apple.
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Agreed Oliver that the info is good. As a music mastering person he is demonstrating the subtle difference of his craft.
Yes to Mark’s point about Youtube default encoding, that will make it harder to judge quality but I can hear the EQ and dynamics on his mic. Probably worse if I was watching hi res on my 4k monitor and studio surround system rather than headphones on the a laptop.
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That was interesting, thanks Oliver. Some good advice which is familiar to people like me but may not be to picture editors.
Ep 1 – Ironically the audio editing and mix/ mastering of this video was poor as was the picture grade. A lot of what is said is music industry specific. Mastering and mixing happen at the same time in the video world so what he is talking about is music specific.
Ep 2 Important points about monitoring consistency. I’ve used the same amplifier and volume setting and the same speakers for decades. I don’t need to look at meters (peak or loudness) when I’m mixing. [Meanwhile the close up still needs grading to match the wide shot]
Ep 3. Firstly the audio is better on this video. They have actually done some compression & EQ so the voice sounds better. Great advice about compressors. Again his settings relate to music with heavy bass. For vocal I always use a fast attack and 80ms release. He is also compressing previously compressed mix. In film mixing I use staged compression. First light compression may be on a specific clip or track. Then another on the sub mix bus (including de ess) and finally on the mix overall. This staged compression controls in steps and helps to envelope the sounds together. Attack and release times are set to the same in the stages so you don’t get pumping.
[Wide shot to CU grade is slightly better but the wide is green compared to the CU] -
You might be the last person to cut a feature on Legend! Onya Nick
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[Tangier Clarke] “I know I should throw DaVinci Resolve in this discussion too, but that’s not what this forum is for.”
Not true. This forum is very much about all NLEs no matter how hard some try to keep it on X only.
Recently I was asked by a college to run a half day session on Resolve. The school had been originally exclusively FCP7 then changed to Adobe. X was tried but the decision was made to favour an NLE that was representative of the local market place and X has little market penetration here.
After the presentation the school decided to add Resolve to Premiere. Long term they will likely ditch Premiere but not until the local market reflects that same transition. I discussed the choices they had made over the years with their senior teacher and she said that although they are on Apple hardware in case X was a valid choice they really didn’t want to have students learning a system that was unlikely to be found in the wild. Also in the local market a lot of editors have their own system so they were free to choose. However what they wanted from my day with Resolve was to talk about workflow and collaboration.
Most editors who feed their docos to me for grade, online & sound post, regardless of whether they use X or Pr or Avid, are adding Resolve. That way they can handle the porting of the edit to Resolve before coming to me or sometimes they are learning to grade & sound post themselves. So it makes perfect sense for schools to teach the tools that their students will need if they wish to pursue their careers. You can argue that all systems need to be taught but when the school has to justify hardware and software choices, they must consider the reality of what their students will likely face in the wild.
And disclaimer – I don’t work for Blackmagic but as a local experienced user, I do these sessions annually at this school.
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Most DV cameras recorded timecode. Usually it was stop start, not time of day as time of day would create breaks at each camera stop. This made digitising difficult.
So no I would not expect there to be useful timecode data to indicate time of day. As for date, if a camera op bothered to set user bits to indicate date then you may have that data but don’t expect FCP to read that and use it in any way. So you have reel numbers and timecode and file names. That is all you can expect from a tape format.