Russell Lasson
Forum Replies Created
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I really like the HDElement from CalDigit. The price is low and the performance is great for just a four drive raid.
https://www.bhphotovideo.com/c/product/592144-REG/CalDigit_756605_6TB_HDElement_External_Hard.html
-Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net -
ProRes 4444 (excluding alpha) at 1080/24P is about 33 MB/sec. At 1080/60i it is about 41MB/sec.
ProRes 422 at 1080/24P is about 22MB/sec. At 1080/60i it is about 27MB/sec.
So there is a higher data rate, but it’s really not very significant. Most standard 7200 rpm drives would run it fine. Many of those drives run between 80-120MB/sec now days.
I would suggest a RAID like you suggest for multiple streams and backup protection.
-Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net -
First off, I’m actually a Scratch artist and can tell you it’s a very great machine. I started with Final Touch and then Color and it is also a powerful system. I prefer Scratch for several reasons.
But the biggest difference will be the colorist. A great colorist will do a great job with either program. It might not be quite as fast with Color than Scratch, but creatively, both programs offer enough tools that if someone who know what they’re doing is running it, you’ll have a lot of flexibility.
[Uli Kunkel] “- Should we consider ProRes 4444 for our finishing rather than onlining with R3D as originally intended?”
I would still use the R3D files for coloring regardless of which system you use. That’s the original file. ProRes 4444 won’t offer any more.
What I would do is render either finished master to ProRes 4444. Color will render directly to it and Scratch can render to 16-bit Tiff files that can be converted to ProRes 4444.
[Uli Kunkel] “the process of batching “Native” per the Red whitepaper on FCP workflow should now allow for a 4K color grade in Apple Color, correct? “
I’m installing it right now and I’m going to see what’s changed.
[Uli Kunkel] “- The new version of Cinema Tools now offers the ability to import R3D clips and treat them like film rolls that correspond with transcoded footage in the timeline. If we go with an R3D online workflow in Color, will we have to use Cinema Tools and re-batch all of our footage so that Color links back to the R3D? “
Haven’t tested it yet, but it should just be creating a database in Cinema Tools. You shouldn’t have to re-batch through FCP. I’m going to get this figured out soon as I can’t find good documentation on how this process works.
-Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net -
I don’t know what you’re talking about. I’m a FCP house… and everyone else stinks!
🙂
-Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net -
[Erik Lindahl] “I’m very iffy about the RED-camera in the first place sadly. Greenscreen-work is pure hell with the camera.”
I guess it depends on what you compare it to. I’ve seen some really amazing keys with the RED ONE.
If you’re really that concerned about the quality of ProRes and the RED ONE, trying to get what you’re looking for out of $1000 software is asking way too much. You’re asking for super high-end quality from the lowest priced full-feature edit software. You might reconsider your expectations.
-Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net -
[Hector berrebi] “doesn’t it suggest ProRes 4444 is 6.7:1? “
Excellent find! I couldn’t find a data rate for 12-bit uncompressed, but there it is.
So correction, ProRes 4:4:4 is 6.7:1 compression.
-Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net -
[Erik Lindahl] “Film > Telecine > ProRes > Output
And hold the same or better quality than the established standard we use today “
Hopefully it is as good as a HDCAM SR DI workflow. But even if it isn’t, people are going to see that it can be a much less expensive option and they’re going to do it. Independents are just going to eat up ProRes 4444, especially those shooting on digital cinema cameras.
Now if AJA can somehow manage ProRes 4444 support on the Ki Pro over a 3Gbps HDSDI signal, then watch out! That makes it a sub-$4k, 4:4:4 recording option that will play very, very nicely with an edit system that has 1.3+ million users. That could be a very impressive combination. Even if it isn’t “technically” as good as the current options.
[Erik Lindahl] “The few projects I’ve done with ProRes before have been riddled with compression artifacts. This can of course be due to the original recording media (AVCIntra on one project was pure hell to color correct and key). “
I’d suggest looking into Gary Adock’s article on ProRes:
https://provideocoalition.com/index.php/apple/story/prores_a_closer_look/
-Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net -
Let’s talk about this on a new thread.
https://forums.creativecow.net/readpost/8/1045642
-Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net -
ProRes HQ and 4444 are considered to be a lossless codecs. If not, it’s as close as you’re going to get to it for now. If this doesn’t work for you, then you’re going to have to come to the realization that FCP’s uncompressed days are over. If you need uncompressed, you need to now look for something else to fill your need.
And what about ProRes 4444 doesn’t get you excited or hopeful to try it? When dealing with DPX, RED or other 444 formats, the main problem with ProRes HQ wasn’t the compression. It was the fact that you throw out half your color info when you go to 422. For effects work, that seems very silly. Did I mention that ProRes 4444 is also 12-bit. The only formats that compete with that are really DPX Log and 16-bit Tiff sequences. (Maybe Cineform, but I don’t know the specs).
For FX work, if you’re shooting RED, you can encode to ProRes 4444 at 4K to make it manageable to work at 4K. That means that you can work at 12-bit, 4444, 4K images at somewhere under 200MB/sec. This is going to make a really big impact on the special effects industry. Not the high end industry, but for the independent and smaller houses, it makes a lot of sense!
I suggest you do a $300 test an upgrade. Try out ProRes 4444 and see if it works as good as you think it should. If it does, great. If not, then go spend tens of thousands of dollars an a solution that will do what you hope.
I’ll repeat myself, ProRes has now killed Apple’s motivation to develop FCP to truly support uncompressed formats. I will also suggest that ProRes 4444 is really going to be better than the alternatives.
-Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net -
We’ll miss you Bob! But you’ve got to pony up the cash if you want to be part of the club.
As a note, the new intel computers make a gigantic difference in performance. If you haven’t upgraded to a new tower, then you were really missing out.
-Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net