Walter Lowe

I guess the need to transcode depends on the project. On a lot of our unscripted shows, I don't want the editing team dealing with camera files no matter which camera it is. We shoot sooo much footage, we transcode to a proxy format for the offline edit. Especially easier with remote editors sharing the same project. And when we're doing commercial spots with a much lower shoot ratio, sometimes we'll just transcode everything to ProRes4444... for VFX we really don't want After Effects having to decode AVC or HEVC in the workflow. For quick news and same day turn around stuff, we don't transcode. I

Tyler, that's really good info, thanks. Do you know if it's different than the XF-AVC 422 10bit in the C500mk2. I noticed that the max bitrates for 422-I frame 10-bit on the C400 were about 25% higher than on the C500mk2. Thought they'd just pumped up the data rate but didn't realize they changed the codec to be more complex. I convert everything to ProRes before we start editing, so I'd actually welcome more data in the file, but I wonder how much slower transcoding will be.

Tyler, The C400 specs state it has XF-AVC 422 10-bit I-frame. Not sure where you're getting info that it doesn't have that codec.

Thanks Gentlemen. Sounds like either a couple 8-bys with for bounce or maybe some 8-by frames with diffusion and some reflector boards to focus some sunlight into them will work then? I appreciate the knowledge.

Hey all, I'm coming up on a project where I'm dealing with a lighting challenge and the project is ultra-low budget for a non-profit, so I don't have a big team to drawn on. We're shooting a group of individuals together in the middle of a field near sunset. My vision for the shot and the way the location works best is to put the setting sun behind and slightly off to the side of the talent and fill them in with bounce. I'd love to have a few HMIs out there to fill, but the location is too remote, and doesn't really work for big lights and a generator. I've done this plenty of times when it's just a medium shot or MCU of a single person and you can get a white bounce in nice and close. That's no problem, but for this shot it's a group, I need to fill a larger area and the reflectors would need to be further back. Is there a formula or rule of thumb to estimate how large a reflector surface I'll need to provide a certain number of stops of fill? I need to know if a couple of 8x8s will do it, or will I need more and bigger, or if it just isn't possible and I'll need to scrap or re-imagine the shot. Any thoughts would be appreciated.