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Found 7 results

  1. For all the editors who are hiding out in this forum :ph34r: ....I was wondering if film is actually cheaper to once you got to post than video. Specifically, can you outline the difference in workflow between a Super16mm workflow vs shooting in 4k(or even 2k) and finishing on the accepted digital projection format(or 35mm)? My guess is that film would come out a bit cheaper and easier to manage for the beginner. Quite counter-intuitive I know, but digitial non-linear editing appears to be a black hole which swallows all of your budget.$10K! I'm betting that a 10:1 shooting ratio on Super16, comes out cheaper than a shoot-it-'til-people-threaten-to-leave:1 shooting ratio on video. Can anyone comment on this?
  2. Hello, I am preparing to scan 610m of 16mm color negative in 2k. The telecine operator offers uncompressed ProRes, DNG, and DPX. I will be editing /grading on a macbook pro that can't run DaVinci. I have graded raw files before (RED and Black Magic), but never a scanned negative. My question is, which format should I ask for? I want to be able to adjust the color and exposure to the same extent I was able to with RED and cinema DNG files. The operator said that these DNG's are not the same as BM DNG's please help!
  3. It doesn't come up often, but occasionally we get a ProRes file that we need to convert to DPX. In the case of the current situation, it's a ProRes 422HQ 1080p file, but we need DPX for our restoration system. Normally I'd do this in AfterEffects, but I'm wondering if there's a better/more efficient way to do it, say with ffmpeg? Since we don't have AE installed on the restoration system, doing it on one machine and then moving the files means a lot of waiting for file copies to complete. So I'd like to be able to do it right on the restoration PC to save some time. Googling mostly brings up conversions in the other direction: DPX->ProRes, but that's not what we want here. My main concern is avoiding any color-related issues when using ffmpeg - gamma shifts, color space changes, etc. Any suggestions or recipes? Thanks! -perry
  4. Hi there, First post on this forum, nice to meet you. I'm looking to get some reels of 9.5mm archive film transferred. I've looked around on the internet (before finding this forum), and am now chatting to Images4Life in the UK. They seem to offer a great balance of options and price. I'm looking for a reference. Can anyone recommend their services? It looks like they're using a flashscan Choice. I'd be getting the scanning done at the full resolution, transcoded to ProRes 444. I see lots of discussion about quality on this thread. Does anyone have anything to add? Thanks! Stephen *Edit: full res would be their 2.3K
  5. I've just been finishing up an article about how Panasonic have a new handheld P2 camera that can record to off the shelf SD cards at up to 50Mbp/s and turned to the front page to discover David had posted this article: http://www.redsharknews.com/technology/item/1532-totally-unexpected-move-by-sony-f5-and-f55-cameras-to-support-prores-and-dnxhd WOW! Things are changing in the camera industry that's for sure! Freya
  6. At the start of the year I owned a Blackmagic Cinema Camera for a few months before selling it for various reasons. Produced a lovely image in ProRes, but I ended up using the money to travel etc. Recently though, I picked up a Blackmagic Pocket Cinema Camera and a Panasonic 12-35mm F2.8 OIS lens and some bits and pieces. The image is much, much better than the 5D Mark III I was shooting with. It feels like I'm grading a poor man's raw, but it means I can cut and grade directly in Final Cut Pro X. I've been pushing it through FilmConvert with lovely results. So far in my unscientific testing, I've found that being about a stop over middle (while making sure to not clip what you don't want) gives very nice and subtle noise results. I'm picking up a Sekonic L308S meter soon so I'll be able to do some quantifiable testing with regards to middle grey, exposure and where to compensate for cleaner results. Here are some frames I posted through FilmConvert's Kodak Vision3 5207 emulation before I bought the plugin (hence the watermark). Some have grain enabled, some are clean. So far I'm as blown away with is as the BMCC 2.5K, especially given its price and size.
  7. https://vimeo.com/71812380 We are very thankfull for John Brawley’s first ProRes Files of the Black Magic Pocket Camera. We have decided to use Final Cut X for grading because we want to know how to get some useful pictures in a short time without using a color grading software like DaVinci. Our goal was to make a quick and uncomplicated color grading video without an additional grading software. Therefore we used Final Cut X and we were pleasantly surprised about the results. Lenses used: SLR Magic 35mm F1,4 Olympus 14-35mm F2,0 Olympus 7-14mm
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