[Walter Soyka]

[Carlton Rahmani] “So there is an 8k. . .at least that is occasionally practiced. Thanks for filling me in. As for the press regarding production–and I don’t know why shooting anamorphic would get so much buzz–I acknowledge that editing is perhaps the most overlooked, in terms of popular attention, aspect of production. . .definitely the least in terms of the major talent needed to execute a film, the other two being director and DP. Probably why it didn’t even occur to me to check out IMDB.”

Sorry, I thought you were asking about the finishing for Star Trek — the offline edit was done in HD on Avid Media Composer Adrenalines with DNxHD 36:

https://www.avid.com/US/about-avid/customer-stories/Star-Trek-A-New-View-from-the-Bridge

And they had some technical difficulties with the Adrenaline systems:

https://www.studiodaily.com/main/technique/craft/f/editing/Editing-Star-Trek_10978.html

Walter Soyka
Principal & Designer at Keen Live
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
RenderBreak Blog – What I’m thinking when my workstation’s thinking
Creative Cow Forum Host: Live & Stage Events

[Walter Soyka]

[Tony Horpel] “It seems video is always going to be slower than real sound speed.”

Yes. Any kind of video processing (whether in the camera, the scaler, the switcher, or the display) will delay the video. Cumulatively, you can easily end up with a couple of frames of delay in a video system.

If you’re reinforcing the sound, you can add delay to the audio.

Walter Soyka
Principal & Designer at Keen Live
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
RenderBreak Blog – What I’m thinking when my workstation’s thinking
Creative Cow Forum Host: Live & Stage Events

[Walter Soyka]

So much of the press on the Star Trek movie was about J.J. Abrams’s decision to shoot anamorphic, and about matching digital flares to the physical ones. It seems the digital intermediate was completely overshadowed.

Speaking of 8k for IMAX, though, the Dark Knight IMAX used a mix of 4k, 5.6k, and 8k film scanning and VFX pipelines for different sequences.

Walter Soyka
Principal & Designer at Keen Live
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
RenderBreak Blog – What I’m thinking when my workstation’s thinking
Creative Cow Forum Host: Live & Stage Events

[Walter Soyka]

[Carlton Rahmani] “So I read on another forum that the latest Star Trek movie was edited 2k. . .can anyone confirm or deny this? “

IMDB’s tech specs for Star Trek says they used a 2K digital intermediate.

Like most major IMAX releases, they used a proprietary process called IMAX DMR for noise reduction and scaling for the IMAX print.

Walter Soyka
Principal & Designer at Keen Live
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
RenderBreak Blog – What I’m thinking when my workstation’s thinking
Creative Cow Forum Host: Live & Stage Events

[Walter Soyka]

[David May] “so that the subject remains stable, the footage remains in shot (no black bars) and no up-scaling is required.”

Just wanted to clarify that this is not really possible with any technique (unless you have acquired at higher resolution than you need to deliver).

If the acquisition raster is the same as the delivery raster, you’ll have to move the frame around to stabilize, which will reveal the layers beneath it (or the background color). To eliminate that, you’ll have to do something (scale or distort the original footage, or use motion tile, multiple layers with masks, etc.) to make up for pixels that just aren’t there in the camera footage.

Many of these techniques are about mitigating this issue, but it’s inherent in the process.

Walter Soyka
Principal & Designer at Keen Live
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
RenderBreak Blog – What I’m thinking when my workstation’s thinking
Creative Cow Forum Host: Live & Stage Events

[Walter Soyka]

Thanks for posting back with your solution!

Walter Soyka
Principal & Designer at Keen Live
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
RenderBreak Blog – What I’m thinking when my workstation’s thinking
Creative Cow Forum Host: Live & Stage Events

[Walter Soyka]

There’s a computer storage saying: there are those who have experienced data loss, and those who will experience data loss. Hard drives fail — it’s a matter of when, not if. How confident can you be with only copy of a piece of media on a hard drive on a shelf?

A lot of production companies have started using LTO4 tape archives in their “tapeless” workflows, but the price tag is pretty steep.

If you must continue with hard drives, first minimize what you must store as the other posters have suggested. Spin up your drives from time to time. Mark them with the date they were purchased, loaded, and last spun. Move your data to new drives as the older ones age. Keep duplicate copies on drives from another manufacturer, stored in a separate location, or maybe spanned DVD or Blu-ray backups.

Walter Soyka
Principal & Designer at Keen Live
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
RenderBreak Blog – What I’m thinking when my workstation’s thinking
Creative Cow Forum Host: Live & Stage Events

[Walter Soyka]

Avid has their own compressed intermediate/mastering codec called DNxHD. It’s very similar to ProRes in quality and bit rate. You can read more or download the free Quicktime codec at the linked page.

Walter Soyka
Principal & Designer at Keen Live
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
RenderBreak Blog – What I’m thinking when my workstation’s thinking
Creative Cow Forum Host: Live & Stage Events

[Walter Soyka]

Looks like it’s easily doable with the fundamentals. You could build the triangle in Illustrator or Photoshop (or directly in After Effects with shape layers). You’d need to keyframe position, scale, and rotation; add and keyframe the Hue/Saturation effect to changle the color.

Walter Soyka
Principal & Designer at Keen Live
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
RenderBreak Blog – What I’m thinking when my workstation’s thinking
Creative Cow Forum Host: Live & Stage Events

[Walter Soyka]

Thank you for posting the video — now I understand what you are talking about.

That’s a big move for a low frame rate, and unfortunately that stutter will be unavoidable.

It might help to crank up the motion blur by adjusting the shutter. Unlike a physical camera, you can use extreme values for the shutter to add more blur.

Another option is to explore playback at other frame rates. I see you’re working at 25 fps now; is 50 fps an option with your playback system?

Walter Soyka
Principal & Designer at Keen Live
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
RenderBreak Blog – What I’m thinking when my workstation’s thinking
Creative Cow Forum Host: Live & Stage Events