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Shooting "high-speed" 7D, end-delivery PAL

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Erik Lindahl
Shooting "high-speed" 7D, end-delivery PAL
on Oct 7, 2010 at 12:37:21 pm

I was wondering if anyone has any "do and don't do's" regarding shooting high-speed with a 7D for delivery in PAL. We're juggling to shoot with 50 or 60p, are there any pros / cons / issues with either-or? Our end-format will be PAL (720x576 16x9 FHA 25 fps). Does a specific format work better or worse if editing and grading / comping in Final Cut / Color / After Effects? Are there any "think of this when shooting"?

I'd presume we convert all video to ProRes 4444 25 fps at ingest.. We're do we do this best? Through FCP or an external app?

I'm quite used to working with higher-end formats (Film / RED) so the DSLR stuff is quite new. I gather we have to treat the set like video and be really careful with over and under exposures.

------------------------
Erik Lindahl
Freecloud Post Production Services
http://www.freecloud.se


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Erik Lindahl
Re: Shooting "high-speed" 7D, end-delivery PAL
on Oct 7, 2010 at 12:48:18 pm

I can add to the above the set will be very controlled and we don't (I don't think at least) have a lot of motion to suffer from the dreaded shutter distortion. We're shooting bubbles as far as I gathered (whine / soft-drink "sizzles").

------------------------
Erik Lindahl
Freecloud Post Production Services
http://www.freecloud.se


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Dave LaRonde
Re: Shooting "high-speed" 7D, end-delivery PAL
on Oct 8, 2010 at 8:43:11 pm

[Erik Lindahl] "I'd presume we convert all video to ProRes 4444 25 fps at ingest.. We're do we do this best? Through FCP or an external app?"

ProRes 4444 is fine if you like unnecessarily large file sizes... and don't we all?

Seriously, there's no advantage to that codec for you: normal Prores 422 is just fine, and it too is 10-bit. If you intend to do repeated rendering and re-rendering of your files -- think 5 generations of re-rendering, or more -- consider ProRes HQ.
Resort to 4444 only for its alpha-channel support.

A lot of people swear by Canon's log & transfer application because it preserves the faux time code generated by the camera in the metadata, which can be read in FCP.

Dave LaRonde
Sr. Promotion Producer
KCRG-TV (ABC) Cedar Rapids, IA


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Erik Lindahl
Re: Shooting
on Oct 8, 2010 at 10:18:16 pm

Thanks for the reply! Normally I\'d go with ProRes 422 HQ but the issue is the After Effects has a very nasty bug when working with this codec in conjunction with a Kona 3 card on OSX. The solution here is ProRes 4444 or render in 16-bit in AE. Here I prefer larger files over longer rendertimes through the entire post. But I get what you say.

Does the Canon Log and Transfer re-wrap 50p media to 25p? Does any other tool do this? Did some quick tests last night and AE seems to do it fine but that\'s a bit \"brute force\".

------------------------
Erik Lindahl
Freecloud Post Production Services
http://www.freecloud.se


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John Heagy
Re: Shooting
on Oct 9, 2010 at 12:28:28 am

Erik,

If the bug is a gamma shift, remove the following from /Library/Quicktime
AJACodec
AJAUncompressedCodec

and restart

John


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Erik Lindahl
Re: Shooting
on Oct 9, 2010 at 1:17:27 pm

It's the "rainbow color effect" bug I'm referig to. Gamma-shifts seem not a probelm with ProRes 4444 at least in CS5. Yes, removing the codec would love my problem, trouble is we've had projects using AJA 10-bit RGB codec amongst other things.

------------------------
Erik Lindahl
Freecloud Post Production Services
http://www.freecloud.se


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Dave LaRonde
Re: Shooting
on Oct 11, 2010 at 4:48:34 pm

http://blogs.adobe.com/toddkopriva/2010/05/prores-4444-and-prores-422-in.ht...

Dave LaRonde
Sr. Promotion Producer
KCRG-TV (ABC) Cedar Rapids, IA


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Erik Lindahl
Re: Shooting
on Oct 11, 2010 at 4:55:37 pm

Yeah, I know and I stand by the fact I need video output, I need the Kona codec and I'd rather have larger files than longer rendertimes even if ProRes 4444 is overkill :-)

------------------------
Erik Lindahl
Freecloud Post Production Services
http://www.freecloud.se


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