Misha Aranyshev
Forum Replies Created
-
The advantage is when it’s time to go back from Proxy to HQ you can point FCP to whatever set of media you have.
-
What I meant is every 1.5″ of your photo will fill the width of your frame at 100% zoom.
-
Well, every at 100% 1.5″ of your photo will fill the width of your frame.
-
What are your deliverables? Is it HD (1920×1080), UHD (3840×2160), DCP (1998×1080 or 3996×2160)? Scanning a photo at 1200 DPI means there are 1200 pixels in every inch of your image.
-
Sounds like an interesting project
-
It will be an interesting read. More so because the two impressions I got from Focus workflow presentation was Sync-n-Link X is a great piece of software and they had an obscene amount of time to prepare the footage.
-
It’s just a matter of not making things too complicated. 8 bits per channel is not enough. 10-bit log is the next step. Then there’s 16-bit linear but that’s an overkill. 10-bit lin would probably be enough considered it’s reversal film but 10-bit lin is not something the labs usually deal with.
-
Probably not. DaVinci Resolve can though. Besides Log to Lin or Log to Rec. 709 conversions are easier in DaVinci too.
-
It is always better to have your source bigger than your delivery.
-
The aspect ratio of regular 16 mm is 1.33:1 and HD is 1.78:1. So if cost is no issue I’d ask Fotokem for 3k 10-bi log DPX scans and would make HD “workprint” myself.