Terry Leahy
Forum Replies Created
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Yeah that’s kind of what I figured. So I guess I should not have offline editors do any speed manipulations is the only way around this. Bummer. Feels like there should be an opportunity here.
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Got it that makes perfect sense. Only hiccup I could see would be that you lose the ability to color that part if graphics are flying around so it would have to not only be Online but already colored footage.
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So do you just layer the quicktime over the footage files that were composited to replace that chunk of high res media? Davinci is usually pretty slick with handling comps etc I’m just interested in that part of your work flow.
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There is some misinformation here. The only time you need two asynchronous CFast2 cards is if the single CFast2 card you are using is not fast enough, namely at 60p 4.6K RAW Lossless RAW. You can record 60p 4.6K 4:1 RAW for days on a proper card (I use Lexar). You can record 2K 16:9, 2K DCI, and 1080 HD @ 120 FPS RAW or ProRes (and any flavor therein). This is all thanks to the OS 4.0 update, which has brought in a ton of features and easier operation. So the answer is yes, Terry.
Question for you. How long can you record on the 256gb card at 60p 4.6K 4:1 RAW? How many minutes? It’s tough coming off of the BMPC 4K that gives me an hour of RAW recording on a 1 TB SSD. The compressed format I’m sure will help loads but I just want to make sure. Wait…if it’s 4:1 then wouldn’t it be about an hour in 30p and 1/2 hour in 60p on 256GB?
Thanks for your response.
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120FPS RAW?!?!? I cannot wait until that’s 120FPS in 4K at RAW. Hopefully in an update. Thanks man!
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The whole round tripping element is a cake walk. I export an AAF for AVID and use the DNX 444 (or whatever the highest newest codec is) and it comes right back in to Media Composer. The problem is, when I look at media composers viewer window of the footage and compare it to the gorgeous rich color in Davinci it looks totally underwhelming and colors are different and contrast is changed as well. Is there a setting I’m missing somewhere? How can they look so different even after export.
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Guess I’ll be sticking to that!
Thanks man
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Ok, how about this.
What are the best export settings that have worked for YOU in getting 1080p media to Youtube in it’s highest quality coming from an Avid timeline.
No Sleight against my fellow man or their computer system etc. I am just looking to hear responses in a purely democratic environment.
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The backlights should take care of themselves as there is a nice little light wall built into the set. Now I’m armed with an ARRI kit with a 650 a 350 a 150 and my KiNO. I like your idea Rick but I can’t set up a light right in front above 45 without interfering with the audiences view. Which means I need to figure out how to get my moderator a key light without blocking the audience. Thoughts?
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Hi Steve,
Yes I am, why should I shoot 30PN instead of 24?
Thanks,