Uli Plank
Forum Replies Created
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It depends, since “Mercury Playback Engine” is just a marketing name for more than one core technology.
The complete switch to 64 bit is supported in AE CS5 and is making it much more stable and performant. During beta testing I was able to treat 4K footage from the RED One with Neatvideo and didn’t get a single crash – try that in CS4. I don’t need to explain why stablity is a major factor for real world speed 😉The use of CUDA (i.e. offloading tasks to the GPU) for realtime effects is not supported in AE.
Hope this helps,
Uli
Director of the Institute of Media Research (IMF) at Braunschweig University of Arts
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OTOH, Canon doesn’t give you alias-free images and RAW data.
The only ones I still trust to get these points right in a affordable camera any time soon are RED.
Don’t get me wrong: The Canon is great if you respect it’s limitations and carefully work around them. We own one, but we have a RED One too – for different demands.
Director of the Institute of Media Research (IMF) at Braunschweig University of Arts
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Premiere Pro CS5 works equally well on a Mac and, yes, it’s RT native with footage from the 5D. CS5 will be a game changer!
Director of the Institute of Media Research (IMF) at Braunschweig University of Arts
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They can’t. RED is doing full frame video, Canon (and all others) need binning (see Wikipedia).
That leads to aliasing, since the OLPF can’t be optimized for photography and video at the same time.
Plus, you don’t have the latitude of RAW, you have highly compressed 8 bit video.Nobody can tell you about Scarlet yet, but if it uses the same approach, it should win hands down.
DSLRs can look great on the web, RED can look great on the big screen – both in the right hands…
If you have someone to translate German for you, I just published a detailed test of Canon 5D M II vs. RED One in “Digital Production” (Munich).
Regards,
Uli
Director of the Institute of Media Research (IMF) at Braunschweig University of Arts
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Yes, wait for CS5…
Director of the Institute of Media Research (IMF) at Braunschweig University of Arts
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OK, it seems Safari is acting up. Went smooth in Firefox.
Thanks,
Uli
Director of the Institute of Media Research (IMF) at Braunschweig University of Arts
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You wrote:
“You really don’t gain much by using that over ProRes422(LT). The LT is the newest version, and is still a 100mb/s codec (the 5Dmkii and 7d both shoot around 47 mb/s). So between the 10-bit, 100mb/s, and 4:2:2 color space conversion, you really are not losing any information by using LT.”
Wrong! ProRes is an intra-frame codec, while H.264 is interframe (GOP). So it’s far more efficient, plus you are increasing the size by having 10 bit and 4:2:2. So you can’t compare the bitrates, ProRes MUST be worse at a similar bitrate. Why being a cheapskate with drive space? Drives are cheap these days!
Regards,
Uli
Director of the Institute of Media Research (IMF) at Braunschweig University of Arts
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Nice,but I can’t download them.
A small window asking me for my OS and camera model (again) pops up, and then nothing…Director of the Institute of Media Research (IMF) at Braunschweig University of Arts
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Aliasing is not that much connected with color subsampling here, which only shows with very saturated, contrasting colors to the naked eye (where DV fixer may help).
It’s system inherent (OLPF way beyond the Shannon/Nyquist limit) in DSLRs of today.
Director of the Institute of Media Research (IMF) at Braunschweig University of Arts
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You’ll have to accept this until DSLRs get way faster to downscale the whole image at full quality. An OLPF can’t be optimized for hi-res photography and lo-res vdeo (yes, HD is lo-res on a DSLR) at the same time.
That said, the problem is often exaggerated. The very shallow DOF helps, since only regular patterns which are in full focus can produce moiré. Any blur is like an OLPF.
Plus, reduce sharpening quite a bit, it only enhances false detail anyway.Director of the Institute of Media Research (IMF) at Braunschweig University of Arts