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    Senior Member Run&Gun's Avatar
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    Quote Originally Posted by ahalpert View Post
    Aha but I was actually saying the opposite! I had thought prores was like 5x the size of xavc-i. So then my feeling was that 2x was not so bad. Good to know you found it so little useful on the F55, though. And I suppose that next to xavc-L, prores is quite bloated. But I use xavc-i more often, so I think that's a reasonable comparison.

    But in theory, I wouldn't mind having a 12-bit H265 capture codec...
    Ah... Yeah, at the time, there was just the lone XAVC codec available on the 55 and ProRes had several versions. I don’t remember exactly, but even just “normal” ProRes was not as efficient and if you bumped up to the higher quality levels, it got silly real fast. You could even go up to quad 4 12-bit.


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    Quote Originally Posted by ahalpert View Post
    Aha but I was actually saying the opposite! I had thought prores was like 5x the size of xavc-i. So then my feeling was that 2x was not so bad. Good to know you found it so little useful on the F55, though. And I suppose that next to xavc-L, prores is quite bloated. But I use xavc-i more often, so I think that's a reasonable comparison.

    But in theory, I wouldn't mind having a 12-bit H265 capture codec...
    H.265 requires a lot more brute force processing to decode than XAVC or Prores. XAVC is better optimized for editing. Prores footage you could edit in real time at full resolution on relatively modest computers would require a proxie workflow or transcoding with H.265. It is designed primarily as a high resolution, deep color, streaming delivery codec replacement for H.264 with lower data rates, not an editorial codec.


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    Senior Member ahalpert's Avatar
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    Quote Originally Posted by Razz16mm View Post
    H.265 requires a lot more brute force processing to decode than XAVC or Prores. XAVC is better optimized for editing. Prores footage you could edit in real time at full resolution on relatively modest computers would require a proxie workflow or transcoding with H.265. It is designed primarily as a high resolution, deep color, streaming delivery codec replacement for H.264 with lower data rates, not an editorial codec.
    Right but I use the very painless proxy workflow in FCPX. Capturing H265 might be nice from a data efficiency standpoint, especially as far as transferring through the cloud is concerned.


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    Senior Member AndreeOnline's Avatar
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    Quote Originally Posted by Razz16mm View Post
    But you can create looks and grades with Arri, Red, or high end Sony's that a BM can't match.
    With a little luck, over the next few years, we'll see much more graded images posted here and discussions centring on the visual/creative side.
    @andreemarkefors


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    Senior Member James0b57's Avatar
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    Can really see how the shadows are more neutral on the Komodo.



    Looks a touch cleaner too.

    After hearing some interviews online of the camera and lighting people that work with David Fincher, they all seem to like a green bias... at least preferred over magenta anyway. I now assume that the green shift on the Helium is a direct result of Fincher and his team's influence. They use that colour science well in their productions. It is less popular than the Kodak style teal/cyan shift that only really Arri does well.


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    Senior Member James0b57's Avatar
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    Quote Originally Posted by Run&Gun View Post
    I get it. I’ve never been into RED and I’ve never liked the super small form factor cameras, either. I think everyone on this board knows what I like in a camera, by now. But for some reason, this camera has me very interested and it’s size and global shutter are two of the biggies.
    It does feel like cameras sizes go in ranges of utility to ergonomics.

    I am a bit more in the extremes camp. I like a good shoulder mount fully featured no add-ons unibody that is always ready to shoot, and I like the small Zcam or mirrorless cameras that are small enough to carry anywhere, have great image quality and yet still big enough to function manually.

    Cameras like the Canon C and Red DSMC, or FS700 etc, that were never really useful by themselves without rigging, were never my preference. Of course, it helps that DSMC and C can fit onto a gimbal with ease. There is no doubt about the form factor's usefulness, but it really is a lump of clay until the user starts adding things. But they were too small for shoulder, unless one added a long body rails with a counter weight, and they were too big for handheld and fatigue set in rather quickly.

    The Komodo size is much more manageable, as I think it crosses that awkward size and is now in the juuuuust right world. That size still has all the modularity of the C and DSMC bodies, but can also run handheld better.

    A goPro goes down into the too small for manual control.


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