Michael Gissing
195
COW Coins
190
DaVinci Coins
3
Solve Coins
Forum Replies Created
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[Lillian Young] “I checked the “Field Rendering” button to no avail.”
What did you set your project settings to? You might be using a 59.94i setting rather than a 29.97p. I always start a new project by selecting the correct preset. I have made my own presets as the default is nearly always wrong. Also when you import the clip did it say the project settings were different and give you the option to change to match the original?
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I don’t know where the idea that a documentary must give balance to dissenting voices came from. I guess a lot of docos use this as part of the boring ‘must have conflict’ mantra that many commissioning editors at broadcasters insist is a core thing in a doco. Frankly I am so over this one trick story arc that I don’t consider a critique claiming a lack of dissent is a deal breaker.
When it comes to an actual story though, I remain to be convinced that this is a great yarn. I haven’t seen the doco but I’m prepared to give it an honest look. Some of the most interesting docos I have worked on are niche and not necessarily in areas I am already interested in. But a good story well told is always worth a look.
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[Tony West]”The fs7 hasn’t left much room for the ursa to operate these days. Just what I see out there these days.”
All depends on the market place. I recently needed to organise a multi camera shoot on a concert pereformance. I was easily able to get 4 Ursa Mini 4.6k cameras and two REDS. No able to find Sony FS5 or 7 in such quantity in my state. I also potentially had two Alexas. That’s the camera share percentages in my small city.
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[Oliver Peters]”But, for most DP/editor/colorist purposes, neither codec offers all that much more than what we already have available to use with log profiles. So wide adoption is certainly no given.”
The ability to change color temp and ISO plus 12 bit is a big improvement over 10 bit log in a .mov or mxf wrapper. The fact that it is also compressed makes it a smaller file size than either ProRes rec 709 codecs and ProRes RAW without penalty. As soon as my camera gets the update, I expect to switch to BRAW and not use ProRes again for 4k shooting both to save storage space and to get the full dynamics of the sensor.
I was at a presentation of the new Arri Alexa LF a few days ago and the topic of BRAW was raised, especially as the presentation included the experience of two local ACS members who had shot a promo with the camera. Uncompressed RAW with a 4.4k sensor resulted in massive data and they were forced to switch to ProRes. The Arri rep pointed out that Arri don’t have a compressed RAW, partly because they expect RED to take action on their patent for compressed RAW, something that BM have either negotiated or choose to ignore. Either way, if Arri choose to they could provide compressed RAW either by coming to an agreement or just using BRAW. I think we are about to see that compressed RAW will be demanded as it has grade and space advantages as well as not being a bloody quicktime codec belonging to a competing software company.
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[Oliver Peters] “I guess the thought is to focus on tools they’ll likely encounter in the professional film, TV and media world.”
I was asked to do a four hour tutorial on Resolve at a local college to Visual Arts students. By the end the supervisor was saying that they would seriously consider dropping their Pr subscription and just using Resolve in networked collaboration. They are Mac based and have X available but they mostly encourage Pr and now Resolve over X because that’s what local production companies are using.
So that very reason of training for the professional market place is behind the thought to use Resolve as potentially their primary tool. I said it was premature to drop Pr but teaching Resolve makes excellent sense. X is not in the mix however other than letting student have exposure to it.
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I find these metrics interesting but not particularly relevant. I’m sure all NLEs have millions of users. I’m most interested in trends that affect me directly. What are my clients using? What are kids in college using who might be my clients in a few years.
So far in my little post microcosm, I’m seeing Pr, Avid & Resolve most commonly. X rarely and frankly getting a bit rarer as some X editors are jumping to Resolve for various reasons, often just hardware but also they are mindful of post workflows.
The only thing significant is that FCP7 is finally vanishing.
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The very definition of noise or grain is that it varies and is random. Why do you want a frozen frame of grain or noise? Not sure why you would prefer that to actual noise that moves to mask banding.
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[Shawn Miller] “now, if they would just bring it to the Ursa 4.6k cameras…”
I certainly hope so and Grant says other BM cameras in the video. I am wondering if that is why DNx was dropped not so long ago. Leaving room for BRAW implementation? I see less need to have any ProRes flavours onboard with 8:1 and 12:1 RAW. They have clearly modeled this codec on the r3d with the metadata carrying info about how to display, so a Rec 709 look can be applied but still have access to highlight and low light recovery. Like REDs camera defined gammas, fully changeable in Resolve.
I wonder if Apple knew this was coming and rushed ProResRAW to the market half baked.
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At 12:1 you are looking at files close to half the size of ProresRAW. I can now see why Grant was so dismissive of ProResRAW at NAB. The Blackmagic RAW is a vast improvement on both cDNG and ProResRAW. With an open SDK it isn’t as proprietary as ProResRAW. I think cDNG and ProResRAW are going to languish. I doubt RED will embrace it but who knows if they and Arri might not offer it as an option instead of ProRes codecs.
Cross platform and open codecs are essential. I think ProResRAW is effectively an isolated format and likely to never gain traction. If X doesn’t include BRAW it will also become isolated. I’m so looking forward to never using quicktime ever again.
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Fascinating to see the maths at work. Looking forward to actually understanding alpha even though I work with it often.