[Sareesh Sudhakaran]

What I’ve listed does exactly that. Telestream Wirecast does this better than tele 2.2, as far as I know.

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

[Sareesh Sudhakaran]

The size of the card isn’t an issue at all. 128GB cards will be fine, but they will be SDXC, not SDHC – like this one.

You might want to check if the card reader supports SDXC. Hope this helps.

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

[Sareesh Sudhakaran]

I was under the impression the camera controls the recording time, and it hasn’t been hacked yet.

There’s nothing out there that extends the recording time, unfortunately.

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

[Sareesh Sudhakaran]

The Panasonic GH2 is a brilliant alternative that has better video quality and more features. Plus it can take a lot more lenses.

Hope this helps.

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

[Sareesh Sudhakaran]

Ideally you’d want an Eizo or NEC but that’s $2,000+.

The best monitor in your price range is the Dell Ultrasharp 30″.

It’s 10-bit and has 2K resolution. Can’t do better in your budget. Hope this helps.

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

[Sareesh Sudhakaran]

If you’re looking for a hardware solution, then take a look at Viewcast. If you want to use your own server and software, try Wirecast.

You’ll need a contract with a CDN directly, like Akamai or Bit Gravity, etc.

Or, if you prefer to not worry about the technology, try ustream or livestream.

Google+ has a streaming solution but it’ll take a while for it to be really effective.

Hope this helps.

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

[Sareesh Sudhakaran]

Ideal scenario is to stick to maximum quality until final delivery compression.

If you’re working with 10-bit uncompressed you can master in that format for future proofing. From the master, encode to H.264 with a bit rate that works for your web delivery model.

The web has no restriction on the color bit depth. You can create a player that can play back 10-bit video from a server and embed it to your web page. However, it would be only be useful if your clients have 10-bit displays.

YUV and RGB are not the same thing. The first is an encoding format, the second is a color model. Neither are color spaces. The color space you are probably working in is most likely Rec. 709, and there’s nothing you need to do about that. You’re set.

Hope this helps.

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

[Sareesh Sudhakaran]

Another alternative: High quality JPEG image sequences.

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

[Sareesh Sudhakaran]

The fastest way to pull focus is being using marks. The second fastest way is to use autofocus, but the DSLRs usually don’t have that feature.

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

[Sareesh Sudhakaran]

The simple answer is no. But it’s not a fair comparison for these reasons:

1. The Prores is in Rec. 709 color space, with a maximum bit depth of 10 bits per pixel

2. The Prores is chroma sampled at 4:2:2 and has two fixed preset options

3. The Prores/DNxHD file is downsampled to 1080p. You can’t shoot 2.5K in Prores.

If it were a fair fight, the difference would be minimal, in my experience. Only in better sensors like those found in DSLRs and medium format cameras do the RAW files far outweigh in-camera TIFFs or JPEGs. I could be wrong, though. Maybe BMCC has pulled off a miracle!

One important thing you should know is that RAW files have to be debayered as I mentioned earlier – this means that the RAW converter must have decent knowledge of how the sensor works to use the best algorithm for debayering. Right now, even though many apps support Cinema DNG, only Resolve really ‘knows’ the BMCC in and out.

As a simple exercise, I recommend downloading Raw Therapee, a small but really cool and powerful RAW converter. You could try grading the available DNG files to see if you can reproduce the look.

By the way, the BMCC manual is available now: https://www.blackmagicdesign.com/media/4720483/Cinema_Camera_Manual.pdf

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