They shot Moonlight (8 Oscar nominations) with ProRes, not RAW

[jgharding]

same with Amira. It's actually nicer in general using Amira ProRes than any Red Raw I've used. Just light-weight and amazing clean colour and range. Convenient and beautiful, what's not to like.

[Shield3]

On 1/28/2017 at 9:55 PM, dhessel said:

Raw on a camera with highly compressed codec is awesome, raw on a camera with a high quality codec is overrated. I used to shoot raw all the time on a BMCC until I tried prores and realized it wasn't really necessary.

The codec on the 5d3 isn't what killed it.  It's the shit pipeline Canon put in between the 14 bit data coming off the sensor and before the data is written to the card.  The codec itself is fine; it's doing a fine job lightly compressing the crappy "baked in" data its getting.  Case in point, the 1dc in 1080p24 mode didn't look any better, and neither does the 1dx II (and they are using MJPEG).  Whatever Canon does to that image (going from 14 bit raw to the 8 bit output) is what kills the image.  Codec is the least of your problems - the c100 original had a puny 24 Megabit AVCHD file and walked all over the 3 aforementioned cameras in 1080p24.  The lowly XC-10's 1080p24 does as well; same codec I believe in 1080p mode (ALL-I or IPB). 

Moral = line skipping / binning is not your friend.

[jgharding]

1 hour ago, Shield3 said:

The codec on the 5d3 isn't what killed it.  It's the shit pipeline Canon put in between the 14 bit data coming off the sensor and before the data is written to the card.  The codec itself is fine; it's doing a fine job lightly compressing the crappy "baked in" data its getting.  Case in point, the 1dc in 1080p24 mode didn't look any better, and neither does the 1dx II (and they are using MJPEG).  Whatever Canon does to that image (going from 14 bit raw to the 8 bit output) is what kills the image.  Codec is the least of your problems - the c100 original had a puny 24 Megabit AVCHD file and walked all over the 3 aforementioned cameras in 1080p24.  The lowly XC-10's 1080p24 does as well; same codec I believe in 1080p mode (ALL-I or IPB). 

Moral = line skipping / binning is not your friend.

Using C100 is what turned me on to ignoring sheets of numbers and start looking at real-world performance. It's wonderfully robust for such compressed footage.

Stick a Ninja 2 on it with DNxHD 220x or similar and the footage is amazing, again, the pipeline has something good going on.

[HockeyFan12]

9 hours ago, IronFilm said:

How do you get started on that ladder towards being a DIT earning $1K+/day? Say you're working mostly in some other role, how would you transition across?

I really don't know. I know people who are doing this kind of work and getting those rates, but not how they got there or what their job entails beyond standard DIT work. Seems to be twenty-somethings with good social skills, extroverts, who are hard-working (or at least reliable) end up in that role. I think it's a networking thing more than anything. I've only seen this kind of work pop up in the Bay Area and LA, where the flip-side is an impossibly high cost of living, and where someone knows a DP or something. It's also a job that's being threatened by union issues (and the fact that it's often not necessary, whereas you're always going to need a great AC) so I don't see many aspiring career DITs, more people taking it as a step toward DPing or something.

 

 

[Kisaha]

@IronFilm @HockeyFan12 The article starts with these people telling how they started their careers.

In small markets like south-east Europe, and most of New Zealand (except if you are working for any Peter Jackson blockbuster, and still..) I do not see a lot of people getting 1K/a day. 

[Eric Calabros]

With raw, you can reserve the data for unknown time in future when possible software inventions will help you (or people live after you) to get more from the same file. Being about demosaicing algorithms, NR, or color science.