[Sareesh Sudhakaran]

I’m not an expert on audio, nor am I a guru.

H.264 is a video encoding specification, not a container. Your container can still carry audio in as many channels as your software allows. It can be LPCM, Dolby, whatever – different encoding. E.g. MOV container, H.264 video, LPCM audio.

To match Prores 422 you will need at least 50 Mbps or more. You might want to factor in additional upload and download times based on the Internet speeds at each location. Four hours at 50 Mbps is about 50 to 100 GB. The total bandwidth is equal to your upload plus each download. A CDN will let you manage this easily, but it might cost about $1 per GB of bandwidth, with storage extra. Try speaking to Akamai. A yearly plan might give you a better deal.

FedEx also has a business account deal with huge discounts, try that as well.

Hope this helps.

https://www.wolfcrow.com – Workflow information and support for filmmakers, photographers, audiographers and videographers.

[Sareesh Sudhakaran]

This article might help: https://wolfcrow.com/blog/the-difference-between-encoding-transcoding-and-rendering/

For basic editing and grading, I wouldn’t recommend transcoding.

https://www.wolfcrow.com – Workflow information and support for filmmakers, photographers, audiographers and videographers.

[Sareesh Sudhakaran]

You can show your video as-is. HDMI is consumer grade, found on most cheap displays. Why not just plug a DVD or blu-ray player to it?

https://www.wolfcrow.com – Workflow information and support for filmmakers, photographers, audiographers and videographers.

[Sareesh Sudhakaran]

First, the usual suspects: Moving Clouds, trees, special window coating, ambient room lighting dimming, problems with the lights, auto ISO, auto highlight recovery, and so on.

If none of these were issues, then can you see it in your NLE in post production? Is it ‘organic’ (caused naturally) or something that affects the entire image in one sweep (like fading in or out)?

Can you replicate it by recording blank video of a white wall?

https://www.wolfcrow.com – Workflow information and support for filmmakers, photographers, audiographers and videographers.

[Sareesh Sudhakaran]

I have no experience with images below 24 fps, but for what it’s worth: You do realize that NLEs don’t have workflows for 12 fps or 18 fps, right? Furthermore, there’s no delivery format for anything less than 24p either. You could export image sequences, but what next?

What this means is that you will be duplicating frames, no matter which frame rate you choose. In this case, it would be easiest for you to choose a direct multiple of the time-base frame rate (project frame rate). For 24p, that would mean 12 fps. If you choose 18 fps, then you’ll be at the mercy of the algorithm doing the interpolation.

However, 12 fps might not give you the look you want, since 8mm had 16 and 18 fps. According to Wikipedia, silent films had frame rates from 14 to 24 fps, but I think 18 fps was the most popular (I could be wrong). Here are two threads that you might find interesting:
https://forums.adobe.com/thread/844524
https://forums.creativecow.net/thread/3/911293

Hope this helps.

https://www.wolfcrow.com – Workflow information and support for filmmakers, photographers, audiographers and videographers.

[Sareesh Sudhakaran]

How does it play in Redcine-X?

https://www.wolfcrow.com – Workflow information and support for filmmakers, photographers, audiographers and videographers.

[Sareesh Sudhakaran]

Work in controlled sound environments. Look at the 5 shot rule from BBC. Stick to the simplest post production workflow, with native editing. Don’t shoot more than you need. Don’t keep waste. Backup twice. Make it look tough, so you’re indispensable!

https://www.wolfcrow.com – Workflow information and support for filmmakers, photographers, audiographers and videographers.

[Sareesh Sudhakaran]

Canon 16-35mm f/2.8 L for both. On the 5D, 24-70mm f/2.8L. Even with the same equivalent, there is a slight difference in the aesthetic between the two sensors.

https://www.wolfcrow.com – Workflow information and support for filmmakers, photographers, audiographers and videographers.

[Sareesh Sudhakaran]

Take a look at the GH3 as well. If you can get past the aesthetic of the sensor the BMCC looks solid for narrative work.

https://www.wolfcrow.com – Workflow information and support for filmmakers, photographers, audiographers and videographers.

[Sareesh Sudhakaran]

What software do you plan to use, and what kind of files do you plan to edit, and how long do you assume the finished product to be?

https://www.wolfcrow.com – Workflow information and support for filmmakers, photographers, audiographers and videographers.