Yannick Willox

The question is, how big are all your active projects ?

I have an internal U2 8tb drive, and two 2tb M2, and sometimes (rarely) it is not enough for all active projects. Then I move stuff around during the night. I can, because everything is on my NAS, and has double offline copies.

I can edit off my NAS with a standard 1 GB ethernet connection, but that is not something I want to do regularly, and certainly not with +3 multicam projects. 10 GB ethernet would probably work fine.

So, if your NAS is quick enough and has a 2,5 GB ethernet option, you could try that ?

However, a Samsung T5 2 TB is only 220 euro...

Another option could be a Qnap TB-464 with M2 drives, but that would still not be wireless.

IMO that is the biggest flaw of the new MBP - 8 TB is 2500 euro extra ! I bought my internal U2 drive for 850 euro. If Apple's pricing strategy wasn't based on gluttony, I would probably buy a MBP.

I would archive to multiple conventional HDD. SSD won't keep its data for 20+ years, neither will writeable blueray discs if you're out of luck (I had boxes full of CD-ROM becoming totally transparant around 2003-2005 !).

My HDD from around 1995-2000 still spin and read perfectly ...

For the moment I am buying Exos X16 12 or 16 TB harddrives. Much more reliable than consumer HD, and only 25 euro/TB if you can find them.

What is this facebook you are talking about ? Where can I get it ?

Can anyone comment on the non-corrected distortion ? My DZOFILM 10-24 almost has none, but is sometimes a bit too soft towards the edges.

20 hours ago, LPG said:

Hi Yannick, up till now I have worked with up to 5 cams, and that went smoothly.

I agree that somewhere there must be a turning point where h264 becomes slow and Prores remains doable, but at that point gigantic data traffic of Prores will also become a burden?

I have no experience with braw... Is it s good compromise between IQ and data efficiency?

5 cam in 4K with previews running, plus programme ? Which PC do you have then ? I cannot do that in my Ryzen 5950X machine ... Not at smooth 25 fps.

I can do that zith braw. braw is more compact than prores at same quality levels. If I have a multicam shoot, and there is a GH5s running, it is like 200 GB for the GH5s (on 150mbit, not on 400 mbit codec !), and about 300 GB for braw Q5, same resolutions. So, braw is more performant and actually more compact, because for the gh5s I need to create proxies.

20 hours ago, LPG said:

I do have one question. You still seem very fond of Prores, and you said you would like to have that on the new GH6 as well. I have Prores (and the DNX formats) on my Atamos Ninja Inferno, but nowadays I hate to use them...

My point is that these codecs seem obsolete to me. They take up extreme amounts of storage space, and to my eye don't really have an edge on h264 and h265 with higher bitrates. I understand that they were very welcome a couple of years ago since they weren't CPU and GPU hungry, but is that still an advantage nowadays when CPUs and GPUs have become so powerful?

Try editing and color correcting 8 cam live shoots with compressed codecs ...

yes, archival is a problem, but highquality h264 is not that much more compact than braw.

What if Panasonic are planning the GH6 ? What if the GH5 still is a viable camera, but due to older parts, difficult to assemble & sell. Hence the GH5 Mk II with a few small improvements ?

Then the bulk of this thread is moot.

Indeed, my dzofilm 10-24 is in fact 9.4 mm in 4k dci 🙂

with almost no distortion !

Good suggestions, thanks.

I'd probably need to find time to test. I never thought of putting everything on a 2K DCI timeline ... I should test the performance hit as well, sometimes we have a 8-10 cam setup, so even a small difference adds up when doing the multicam edit.

Hello,

i have a not so trivial question. I have been shooting with my bmpcc4k cams in 4k dci, because intuitively, it has the best quality. However, I always render at 1080p, delivery is full hd only.

I actually prefer the 4k dci aspect ratio, but does this method give the best quality ?

downscaling 4k to 1080p is maybe easier, as 4k dci to full hd while keeping the aspect ratio, means you actually do not have a 2:1 line ratio anymore. More complex math involved ?

Even if quality is not an issue, would this possibly cause a performance hit on my cpu ? I imagine scaling 4k to full hd is easier.

To summarize: I shoot in 4k dci, because of the aspect ratio and also because my lenses actually get a little wider. But would it be better practice to shoot in normal 4k, to downscale to 1080p ? Performance and or quality wise ?

maybe I am overthinking this.

thanks,

yannick

Kamlan 50mm f1.1 mk2

Not so sharp at f1.1, decent at 1.4 and great from 2.8. I have it on one of my p4k almost every time.

On 11/15/2020 at 12:26 PM, jgharding said:

this all looks great!

But if you STILL can't reorder audio plugins in fairlight I shall be very disappointed...

But you can change the order, of vst plugins anyway. You just need to know how ... the inspector panel is a hint, as are some arrow like thingies where you can accidentally click on. That is how I found out anyway...

The clone tool has NEVER worked for me. It does not clone root folders, which is weird because as you format a SSD on a bmpcc4k, there are no subfolders to record in ...

It also stops, crashes and gives errors. Total unreliability, which is weird because they promote it as THE way to clone/copy/verify your original media.

?

1 hour ago, David Bowgett said:

It's not needed, but right now it's the direction the industry seems to be moving in. Only Fujifilm and, weirdly enough, Canon really seem to be pushing the boundary in terms of APS-C sensors right now, and things have been even slower on the m4/3 front.

And maybe the Ursa mini pro 12k...

I wasn’t joking you know 😀

of course, we should make fun of the guy on DPreview, more so as he probably meant it.

i have been using p4k and p6k cams in multicam shoots lately, and I have to say they are pretty impressive. The GH5 and GH5s cannot keep up with the image quality. The P6k already allows for a decent crop in post. They all keep running until the 1tb  ssd drives are full.

No overheating signs ...

If I would this kind of jobs on a daily basis, I would already have bought the 12k as a main cam.

Yes, but even with 3 r5 cams you cannot do one shoot ...

a 12k ursa is actually cheaper ...

same goes for the glass if you already have it !

Ok thanks. I was mistaken that more keyframes = less motion interpolation = fast movement more in sync with the music.

As an example, some passages can have 3 times up and 3 down per second. 

The easy solution was to make the tutti camera (view from the hall) one frame early. It could be a visual/psycho acoustic thing, we are used to hearing sound late when viewing from a distance. I did not change the close shots, and they always seem fine...

Thanks, I need to experiment more I guess. I am starting to think the amount of keyframes are the determining factor.

you say there is not a lot of movement, but 40 string players bowing happily is a lot of detailed movement. It is exactly there where things happen, and the conducter is unhappy, because where does Resolve decide to put keyframes ? The timing is very crucial here.

uploading in full hd to Youtube. What happens with keyframes there ? Anyway, youtube does not keep a tight sync between image and sound anyway, so all of this is a bit theoretical. I just need a good starting point.

Hello,

I have a specific question, which google did not answer yet ...

I have to render a big orchestral video project. I need manageable filesizes but correct motion (timing of the image on the music is essential). Are there settings that give better/worse results ? CBR/VBR ? The amount of keyframes ?

I am quite in the dark concerning these rendering settings.

Thanks !

I have this feeling this is all just a result of reduced timelines and segmented R&D.

What  if Canon intentionally did a bad thermal design, to have a thermal cripple hammer. What if, just months before the release, they realised the new sensor and cpu are so efficient, they do not really overheat as much.

The overheating timers seem like an afterthought, implemented too quickly, by a five year old !

They will now engage a 12 year old for the firmware update, respecting the previously leaked time tables for the video modes.

Anyway you look at it, they are utterly incompetent.

15 hours ago, Matthew Capowski said:

How are you able to get your Four Thirds lenses to work on the P4K? I have an Olympus Four Thirds 11-22mm F2.8-3.5 lens and a Chinese 43-m43 adapter.  It works fine on my Panasonic bodies but the lens won't work on my Pocket 4K.  What adapter are you using?

Panasonic DMW-MA1

1 hour ago, noone said:

The biggest problem seem to me is not that they overheat in pretty much any 4k situation but rather the length of time needed to cool down or how long second and subsequent recording will last.

That is what is going to make what looks like a pair of otherwise very nice excellent stills cameras of much much less use for more serious video.

Ok, they are what they are, so how would you use them for more serious video (IE not my use)?   What real practical solutions are there?

I can imagine that somewhere on China right now, there are people making small camera size fridges (I would LOVE one as my normal food fridge).

You would have to watch condensation though  (more so with Sony).     Would you use a real compressor fridge or just a peltier cooler?

Build a couple one for a single camera but also one for two cameras of a R5 size and shape, that way you could use three cameras with two cooling while using one or for resting between use since the heat builds up anyway as long as they are turned on it seems.

Just a larger more powerful one of these (this cost me a couple of buck and while it doesn't work all that well for cooling drinks it is more for keeping them cool).

Seems ridiculous I know but (other than simply recalling them all or not using them for the jobs they are designed for, there has to be SOME solution.

BTW if anyone knows of a micro compressor fridge that is not too expensive. let me know.

https://www.blackmagicdesign.com/products/blackmagicpocketcinemacamera

this is a nice mini peltier fridge.

Seems like somebody already built a cinema camera around it !

The second joke is, not only the r5 overheats, but it also fries your mac pro ...

Meanwhile I am editing 8-cam 4k braw (one actually 6k) on a 1k self built pc !
Canon is really insulting their clients if you ask me. 

That’s weird. When I click on support and scroll down on the bmd website, I have three options: forum, email and telephone.

never tried calling, as I never needed to.

But they clearly have regional telephone support.

It does not seem hidden, there is a name and a photo of your regional support manager, business hours and a tel. Nr.

This sensor seems like the next thing. 12K full sensor readout to 4K braw - how do they do it ? 

Intrigued by the new color science as well.

The info says they will fit any camera using the lp-e6, which does not mean the p4k will actually use more than 50% of the capacity without a firmware update. But maybe that is a pessimistic view ...