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Showing results for tags 'ProRes'.
Found 12 results
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Went to Pinpoint Muay Thai and shot some test footage with the Kinefinity Terra 6K. Shot in 4K with a helios44-2 modified by vidatlantic to have oval bokeh. Hope you like it...
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Hello, I am new to this forum (first post) and beginner filmaker and I will need advice ... Last June I started shooting for my documentary project on the local natural heritage, for now with my own money, so my gear is rather light... I'm shooting with a Canon Eos 70D DSLR, outdoor, and i'm shooting the natural spaces of a valley (along a river). At the start I wanted to film in RAW with Magic Lantern, but with my 70D i'm stuck in 720p (for a continuous recording), so finally i've shot in a compressed way, Mpeg-4 All-I 8bit 4:2:0 @1080p 29.97fps with a picture style (EOSHD C-LOG (0,-4
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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
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I recently shot a music video with the GH4(in 4k) and GH2(1080) all the footage looks really good in preview playback but I notice a Gamma change with the .mov GH4 files if I open in FCP or VLC? I've had this problem with RED files and I just continued editing with the darkened gamma change because the files seem to correct themselves upon export. With that said I have a couple questions with how I should continue with this project or if there is a better way. My workflow plan right now is to Transcode first all of AVCHD GH2 files with 5dToRGB to PRORES 422HQ After that I'll import the PRORE
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Drop an MLV on the application and you can view the MLV with sound in real-time. Press E to encode to ProRes HQ (10-bit 422): http://www.magiclantern.fm/forum/index.php?topic=9560.0 (no GUI- all keyboard commands). I've been using ACR and AE with other workflows (mlvbrowsesharp etc.) resulting in a 175Mbit/s 10-bit 422 DNxHD file for editing. The final quality has been excellent, however the workflow was cumbersome. mlvrawviewer uses the AMaZE algorithm to deBayer with excellent results (paused and when exporting to ProRes: live playback with bilinear on GPU is also decent). While the
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Hello, Everyone. I am debating whether to jump into the Canon 5D Mark III Raw video capture world, but as I have been researching the topic and equipment further I am now considering using Cineform as an editing codec in Final Cut 7. Up until now I have only work with ProRes, but I have read excellent things about Cineform, so I wanted to ask others what they feel about it as an editing codec. Does cineform work well in Final Cut 7? Does cineform require more computer performance in order to edit with? More RAM? RAID? Or would a RAID setup
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Hello, Everyone. I am debating whether to jump into the Canon 5D Mark III Raw video capture world, but as I have been researching the topic and equipment further I am now wondering how much data storage and backup will be necessary for larger files. With estimated calculations of Raw footage being about 7GB per minute, I wanted to ask others who are shooting Raw how much storage space are you finding you need? Terabytes seem like they would get chewed up quite quickly, so how many are people working with? 4TB? 16TB? 32TB? And for what size pro
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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. Lenses used: SLR Magic 35mm F1,4 Olympus 14-35mm F2,0 Olympus 7-14mm more info mindcutfilms.com/blog-
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BM Pocket Camera ProRes 422 files. Ungraded. Shot with using Slrmagic 35mm 1.4, 7-14 Olympus 4/3, 14-35 Olympus F2 http://fil.io/FL5kh/Footage%20from%20Blackmagic%20Pocket%20Cinema%20Camera -
Does anyone know if it's possible to create a good "recipe" for converting BMCC raw video to something similar to what the BMCC camera would create when it outputs Film Log ProRes - preferably using Adobe Camera Raw and After Effects? (I'll be using Resolve at some point, but I'm waiting for the new MacPro's to upgrade, and my 2012 Pre-Retina MacBook Pro can't handle Resolve). To be more clear: I'd like to shoot RAW, but immediately batch convert to something that closely resembles what I would get if I had shot ProRes422 Film Log. Is there such a recipe? Or does
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http://bit.ly/13fhLis A beautiful beach wedding filmed in Long Beach Island, New Jersey. Enjoy the journey through Veronica and Bryan’s big day. This is a sneak peek of the event. Camera: Blackmagic Cinema Camera 2.5K (Shot in Prores, Video) GoPro Hero 3 Black Edition Lenses: Canon 16-35mm 2.8L Canon 24-70mm 2.8L Nikkor Ai-s 85mm 1.8 Audio: Zoom H1 Software: Premiere Pro CS6 After Effects CS6 DaVinci Resolve Song: A Beautiful Place to Be Artist: Tyrone Wells SongFreedom.com
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This is a little trick I figured out recently to automatically convert my AVCHD files to ProRes just by dropping them into a folder. It's works by using Folder Actions in OSX to launch an ridiculously simple Automator script. Now, since I think Mountain Lion is the first version of OSX to include the ability to natively play AVCHD files, this my not work on older versions of OSX. Please let me know below if this works in older version. Here's the step by step instructions: [b][i]I've updated this to reflect the "Actual" way to do this instead of the old one that wa
