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    #11
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    I dont shoot 23p !

    --

    Seriously to my knowledge 4k 30p is 880, so 24 (and UHD?) would scrape it down a bit.

    HQ = 880
    Last edited by morgan_moore; 10-26-2020 at 04:14 PM.


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    #12
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    Quote Originally Posted by offbeatbryce View Post
    So you are saying Raw will be smaller than my 2TB drive?
    I have no clue how long you are going to roll - so cannot answer.

    You should have two dirves anyway to make a back up.

    Im saying you need to research proRes and proresRaw datarates as you might be saving by shooting raw which is the opposit of what I think you think.


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    #13
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    This is how people get confused real quick...obviously all of the data rates depend on the resolution and framerate.

    For regular 422 for UHD:

    471 mbps @24p.

    589 mbps @30p.

    1178 mbps @60p.

    Then you can decrease or increase (in your head) if you're going down to LT or up to HQ.


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    #14
    Senior Member ahalpert's Avatar
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    Quote Originally Posted by morgan_moore View Post
    I have no clue how long you are going to roll - so cannot answer.

    You should have two dirves anyway to make a back up.

    Im saying you need to research proRes and proresRaw datarates as you might be saving by shooting raw which is the opposit of what I think you think.
    I think ProRes raw (is that an option for him?) Is on par with ProRes 422. Prores RAW HQ is on par with ProRes hq. I'm sure this was no accident.

    So I think you only save space over shooting ProRes 4444. Which is cool.

    Prores raw sounds great. But I'd be hesitant to bust out a new format without knowing it well.

    ProRes-Raw-Data-Rates-768x597.jpg


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    #15
    Senior Member Liam Hall's Avatar
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    For doco, don't go near RAW unless you have shares in G-Tech.

    Stay away from H265 unless you want to put your fist through your edit monitor or transcode all your footage to... ...well ProRes...

    Assuming UHD @24p:

    ProRes HQ - 793Mb/s - 1 hour = 5.81 GBs
    ProRes 422 - 529 Mb/s - 1 hour = 3.87 GBs
    ProRes 422 LT - 368 Mb/s - 1 hour = 270 GBs

    Test all three. Choose your favourite combination of quality v file size. Tip; ProRes 422 is the sweet spot.
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    #16
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    Quote Originally Posted by ahalpert View Post
    I think ProRes raw (is that an option for him?) Is on par with ProRes 422. Prores RAW HQ is on par with ProRes hq. I'm sure this was no accident.

    So I think you only save space over shooting ProRes 4444. Which is cool.

    Prores raw sounds great. But I'd be hesitant to bust out a new format without knowing it well.

    ProRes-Raw-Data-Rates-768x597.jpg
    The camera I'll be upgrading to allows ProRes Raw via the Ninja V. It's a compressed Raw into 12 bit. I agree that I shouldn't be shooting Raw without know it well.

    Bryce


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    #17
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    Quote Originally Posted by Liam Hall View Post
    For doco, don't go near RAW unless you have shares in G-Tech.

    Stay away from H265 unless you want to put your fist through your edit monitor or transcode all your footage to... ...well ProRes...

    Assuming UHD @24p:

    ProRes HQ - 793Mb/s - 1 hour = 5.81 GBs
    ProRes 422 - 529 Mb/s - 1 hour = 3.87 GBs
    ProRes 422 LT - 368 Mb/s - 1 hour = 270 GBs

    Test all three. Choose your favourite combination of quality v file size. Tip; ProRes 422 is the sweet spot.
    You making up these numbers? lol

    As mentioned above, it's 471 for 422.

    And 328 for LT and 707 for HQ.

    ProRes.jpg


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    #18
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    Quote Originally Posted by offbeatbryce View Post
    The camera I'll be upgrading to allows ProRes Raw via the Ninja V. It's a compressed Raw into 12 bit. I agree that I shouldn't be shooting Raw without know it well.

    Bryce
    I think ProRes raw is well worth exploring. It might be more useful for concerts, though, because if your white balance and exposure are well set in camera, you may not need the power of RAW. (That being said, if you have a high dynamic range scene and very bright highlights through a window, for example, I think that ProRes raw can help you there.)

    One caveat about shooting H.265 is that if you can record proxy files while you're filming, it can make the editing process painless while giving you very small file sizes. You start editing with the proxy files, which playback smoothly. Then you export the final project with the original files. the export would go faster with ProRes files, but typically your final video is much shorter than your total footage captured, so it goes pretty quickly anyway.

    And you could certainly do it with the Ninja V by recording H265 in-camera and ProRes Proxy (possibly at lower resolution such as HD) in the Ninja V. Food for thought


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    #19
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    Quote Originally Posted by offbeatbryce View Post
    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.
    You've been given some great advice already, although sometimes there's more to it than "no one will know the difference". For example, I've given higher quality files to please an editor, where I would have been fine with the smaller files had I been doing the edit. Depending on the project, there may be a benefit to not taking away the editor's placebo effect, where as other times it will be worth putting your foot down and opening their eyes to stop from making your life harder in the field.

    I just shot about 2TB of interviews using the c200's raw for a project I'm editing. There were no windows and we had complete control over the lighting. 8 bit would have been OK, but there's no comparison when when adding multiple windows in the grade.

    But I think your own testing and the needs of others will help you decide more than anything. Plus the fact you're adding a ninja V means you don't mind a bit of pain when shooting, so maybe other tasks like data transfers are right up your alley!?


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