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    Shooting in ProRes What version is best for sit down interviews?
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    I'm mostly a documentary filmmaker and I will be upgrading my cameras along with a Ninja V monitor to shoot Apple ProRes. Which version of ProRes would be best to shoot in? I've heard mixed feedback in other forums but for documentaries I won't be color grading to any major significance and will have white balance exposure etc already locked in place for interviews which are all done in a studio or on location somewhere. I rarely do run and gun shoots. If it's a sit down interview should I shoot in ProRes LT, 422 or what? I would like to shoot in 4K if possible so I can zoom in post for punch in shots where I see fit. Someone suggested I shoot everything in RAW for my documentary but that seems overkill and would be at least 2 TB for a bunch of interviews.

    I occasionally film concerts so I'm guessing this might change what version of ProRes I'll shoot in as with concerts I could see myself grading more heavily for example.


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    LT or 422 are the most common for this (HQ is usually overkill unless the money makes it really necessary and/or the people you're working for are beyond important).

    LT = if storage is a concern and you truly do a great job in-camera and there's minor post work.

    422 = if storage is less of a concern and you'd like a little more flexibility if needed.

    With that said, 99% wouldn't be able to tell the difference on YouTube.


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    Quote Originally Posted by NorBro View Post
    LT or 422 are the most common for this (HQ is overkill unless the money is really worth it and/or the people you're working for are beyond important).

    LT = if storage is a concern and you truly do a great in-camera job and there's minor post work.

    422 = if storage is of no concern and you'd like a little flexibility if needed.

    With that said, 0% would be able to tell the difference on YouTube.
    What if the documentary is going to a festival or local theater or even say amazon prime? Does that change things?

    From my own tests LT and 422 was not that much different visually in 4k when I borrowed a camera from a friend and their Ninja.

    I'm looking at getting the Z cam E2 M4 and it records H265 in 4k at 10 bit. I know H265 isn't an editing codec but can I shoot in that on the Cfast card and then transcode to ProRes LT or 422 if storage does become a concern when Shooting? There might be days I won't have time to clean the SSD from the Ninja right away but need to continue Shooting. If I trasncode from H265 to Prores does it lose any more quality than if I shot in ProRes to begin with?


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    There's no (or barely any) visual difference even in the HQ one unless you're maybe zooming and comparing.

    The difference is in post as the one with the most data can theoretically handle more stress, if you will.

    As far as specific deliverables for other people/companies; yes, that can change things. You'd need to ask for/locate a specifications list to see what they are looking for.

    ___

    Z Cam...definitely try H.265 if you haven't worked with it before. It can be rough on some computers, including the transcoding.

    But as far as a hit to IQ, I'd say no, nothing noticeable, IMO. But I wouldn't do it and just buy another SSD. They are so cheap and it's less work for you.


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    Others may disagree, but I'd argue that for normal, sit-down interviews, properly shot and exposed H265 will be more than adequate (unless a producer or company is specifically requesting a certain codec). If you are set on ProRes then 422 or LT should be more than adequate. If you totally botch exposure, WB, or composition then HQ isn't going to save you any more than the other flavors (in my experience).

    I have to assume that whoever suggested RAW was joking...


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    As of this moment I haven't been told to shoot in a certain format. My main focus is making documentary films for Vermont in the USA where I reside in and they just are wanting history documented but would be thrilled if I could get it on PBS or Amazon Prime for example


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    FWIW these are the capture requirements for netflix:

    Capture Requirements:
    Capture Format
    RAW (X-OCN, REDCODE, Arriraw etc.)
    COMPRESSED (XAVC, AVC-Intra, ProRes, or other I-Frame capable formats)
    Minimum of 16-bit Linear or 10-bit Log processing
    Minimum data-rate of Bitrate of 240 Mbps at 23.98 fps
    Capture Transfer Function
    S-Log3, Log-C, V-Log, Log3G10, etc.
    Capture Color Space
    S-Gamut3.cine, RED Wide Gamut RGB, Alexa Wide Gamut, etc.
    No looks or color corrections should be baked into the original camera files.
    Files must maintain all metadata (i.e. Tape Name, Timecode, Frame Rate, ISO, WB, etc.).
    4K24p prores LT has a bitrate of 328Mbps, so it should be sufficient for Netflix requirements. However, it is less compressed than H.264 formats (such as XAVC and XFAVC), so you may want to bump up to Prores 422 to achieve parity.

    My vote is for ProRes 422, which I think is sort of the standard capture codec unless people want something even beefier.
    www.VideoAbe.com

    "Captain, the most elementary and valuable statement in science, the beginning of wisdom, is 'I do not know.'" - Lt. Cmdr. Data


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    Quote Originally Posted by offbeatbryce View Post
    I

    I won't be color grading to any major significance and will have white balance exposure etc already locked in place
    .
    To some extent shooting a fat codec allows for you to colour if stuff doesnt go quite to plan. "im not planning on heavy grading" might be a better start point.



    Quote Originally Posted by offbeatbryce View Post
    Someone suggested I shoot everything in RAW for my documentary but that seems overkill and would be at least 2 TB for a bunch of interviews.


    .
    Raw can be 1/2 the size of pro res. check this?


    regular prores 422 is 880mbs in 4k which will do your 2tb in no time

    pro res is not a great bet for those looking to make some backups
    Last edited by morgan_moore; 10-26-2020 at 04:04 PM.


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    Quote Originally Posted by morgan_moore View Post
    regular prores 422 is 880mbs in 4k which will do your 2tb in no time
    3840x2160 24p is 471Mbps according to this chart: https://www.google.com/search?q=pror...Zm_j3MwcelMy_M

    Is that incorrect?
    Last edited by ahalpert; 10-26-2020 at 04:45 PM.


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    Quote Originally Posted by morgan_moore View Post
    To some extent shooting a fat codec allows for you to colour if stuff doesnt go quite to plan. "im not planning on heavy grading" might be a better start point.





    Raw can be 1/2 the size of pro res. check this?


    regular prores 422 is 880mbs in 4k which will do your 2tb in no time

    pro res is not a great bet for those looking to make some backups
    So you are saying Raw will be smaller than my 2TB drive?


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