Uli Plank
Forum Replies Created
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No, they haven’t. But price vs. performance is quite allright.
Director of the Institute of Media Research (IMF) at Braunschweig University of Arts
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Even the cheaper one is very good in optical quality, just the mechanics are not as super smooth as the better one.
Plus, if you ever consider an Epic too, the cheaper model doesn’t fully cover 5K on the wider side. But it’s a very good deal for the AF100/101, IMHO.Director of the Institute of Media Research (IMF) at Braunschweig University of Arts
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I tried Storm with FCP by exporting the XML from Storm and then handing the EDL from FCP to Resolve.
Resolve linked just fine if either transcoded ProRes or original R3D was in the Media Pool.
Director of the Institute of Media Research (IMF) at Braunschweig University of Arts
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Inside of FCP renaming is OK. It’s keeping a hidden ID for the files.
Director of the Institute of Media Research (IMF) at Braunschweig University of Arts
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I doubt you’ll see a difference immediately. But when going into grading or keying, quite probably so.
Problems with AVCHD in FCP are only coming up if you don’t copy the full data structure. Best method is ingest straight from the card. But since I always use ProRes in FCS, a recorder doing ProRes directly will save time when going into the edit. Think Alexa.
Director of the Institute of Media Research (IMF) at Braunschweig University of Arts
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I second this. We ordered a KiPro mini with ours.
Director of the Institute of Media Research (IMF) at Braunschweig University of Arts
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Sounds like excellent support, right?
Director of the Institute of Media Research (IMF) at Braunschweig University of Arts
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Can you be a bit more specific, please?
Director of the Institute of Media Research (IMF) at Braunschweig University of Arts
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If you are watching on a display that expects to be fed interlaced (most SD displays do), it’ll either try to show interlace (tube) or de-interlace (flats). Either method can expose problems with images that were very sharp from the beginning – I’ve seen this again and again when working with stills in the old days.
Consider RED as being just like stills: too sharp for PAL. So, the suggestion of a vertical blur is a good one, but 0.6 pixels should be enough for most footage.
The other option is shooting 50 fps and re-interlace it in SD.
Director of the Institute of Media Research (IMF) at Braunschweig University of Arts
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Anything beyond ProRes 422 is overkill for DSLR footage, IMHO.
Director of the Institute of Media Research (IMF) at Braunschweig University of Arts