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Hi all, Hoping someone can help with this edit workflow question: I currently shoot video on Canon DSLRs (in H264 MOV format), and edit on a late 2009 iMac (2.8ghz i7 processor, 16gb memory). The films I make are mainly for web rather than TV broadcast, and beyond basic colour grade / tidying up, have minimal effects added (no CGI). Until recently, I used Final Cut Pro 7, using FCP's Log & Transfer function to import and edit footage in Pro Res 422 format. Having just moved to Premiere Pro CC 2017, I'm trying to figure out the most efficient workflow with the best
I captured a screenshot of side by side NX1 files. The one on the left is the H265 file being played by VLC. The right, the H264 conversion played with Quicktime. In the conversion, some of the color and detail are lost. You can see it in the VLC VLC version as well.
A WORK IN PROGRESS. Everyone, feel free to correct, add, subtract... Storage, power and bandwidth constraints necessitate the need for video compression. It's easier to understand the trade-offs, and issues, once you understand the ideal world. In the ideal world, you would work with all the data recorded by the camera. The total pixels in a frame of 1,920 pixels wide, and 1,080 pixels high is 2,073,600, or about 2 million pixels. In one second, we watch 30 of those frames, so that 2 million times 30, or roughly 60 million pixels per second. For a minute weâ€™d need 60 million t
The future codec for DSLRs is coming. Was sent this by email today, thanks Tero [url="http://techreport.com/discussions.x/23429"]http://techreport.co...ussions.x/23429[/url] This will be more efficient at the same bitrate and this means better image quality. For example 24mbit would look something like 44mbit on current codecs. [color=#000000][font=trebuchet ms', sans-serif][size=3]Over the past few years, H.264 video compression has permeated just about every corner of the tech worldâ€”YouTube, Blu-ray, cable and satellite HDTV, cell phones, tablets, and digital camcorders