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    #11
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    Hello, James. I'm glad you're alive --- although didn't really doubt it. I just figured you got sick of this place and needed a break, which is totally understandable ;)


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    #12
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    Quote Originally Posted by combatentropy View Post
    Hello, James. I'm glad you're alive --- although didn't really doubt it. I just figured you got sick of this place and needed a break, which is totally understandable ;)
    just here to spread some upvotes


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    #13
    Senior Member ahalpert's Avatar
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    Yay james is back

    Yeah I hear tv dramas are all ProRes no raw


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    #14
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    Quote Originally Posted by ahalpert View Post
    ... Yeah I hear tv dramas are all ProRes no raw
    There was a Rodney Charters interview (Newshooter at the NAB, I believe) from 2014 or so, where he admitted that they only shoot in ProRes. That was in the original Alexa 2.8K-to-HD era when he was working on the "Dallas" reboot.

    But the Netflix require some cameras (like most of the BMD products or Varicam Pure) to deliver Raw footage, with some allowances for the various compression rates. Alexa LF's are allowed either ARRI Raw or ProRes 444.


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    #15
    Senior Member Tom Roper's Avatar
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    #16
    Senior Member Thomas Smet's Avatar
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    Keep in mind when some TV productions say they are shooting on ProRes they may be talking about ProRes444 or ProRes444 XQ. Both are 4:4:4, RGB and 12bit formats. While not raw they provide some of the benefits raw would be used for. Higher color depth and RGB color space with no chroma sub sampling. I for one love raw because of the RGB 4:4:4 and 12 bit color. Some of the other benefits of raw are very nice of course but remember high end productions tend to get white balance and exposure right and are not likely pushing the grade to extreme levels unless its something like a dream sequence or some weird sci-fi effect.

    The ProRes most of us have access to even the formats on the BMD Pocket cameras is plain old every day ProRes422 HQ. YUV color space, 4:2:2 chroma subsampling and 10bit color. Still a solid format of course but there is a pretty decent difference. 4:2:2 is a form of image compression as is YUV.

    I have asked companies like BMD and Atomos to add support for ProRes444 for a few years now but I'm not sure if there are licensing issues for that. I realize few to no cameras send 4:4:4 to an external recorder but at the time I wanted to send 4k 4:2:2 and down convert in the recorder to 2k 4:4:4. I no longer need to worry about that and can record Braw in a format even smaller than 2k ProRes444. With Braw on the BMD I highly doubt we will ever see ProRes444 and really no longer need it.


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    #17
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    Quote Originally Posted by Thomas Smet View Post
    I have asked companies like BMD and Atomos to add support for ProRes444 for a few years now but I'm not sure if there are licensing issues for that.
    BMD has had ProRes 444 and 444XQ since the first URSA in 2014 (both in HD and UHD but limited by HFRs for UHD - and also card speed at that time which was remedied by dual-CDNG recording until faster cards came out to shoot UHD PR 444XQ on one card).


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    #18
    Senior Member Thomas Smet's Avatar
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    Quote Originally Posted by NorBro View Post
    BMD has had ProRes 444 and 444XQ since the first URSA in 2014 (both in HD and UHD but limited by HFRs for UHD - and also card speed at that time which was remedied by dual-CDNG recording until faster cards came out to shoot UHD PR 444XQ on one card).
    I thought I clarified it was a desire for external recorders to down convert 4k to 2k and record as 444.


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    #19
    Senior Member Thomas Smet's Avatar
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    Quote Originally Posted by NorBro View Post
    BMD has had ProRes 444 and 444XQ since the first URSA in 2014 (both in HD and UHD but limited by HFRs for UHD - and also card speed at that time which was remedied by dual-CDNG recording until faster cards came out to shoot UHD PR 444XQ on one card).
    Also a desire for the Pocket cameras for those that would like to use FCPX or anything application that doesn't support Braw but would still like 4:4:4 12 bit. Its. huge deal to create proxies from Resolve but still an extra step.


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    #20
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    Quote Originally Posted by Thomas Smet View Post
    I thought I clarified it was a desire for external recorders to down convert 4k to 2k and record as 444.
    ha...in that case the first step for BMD would be to actually support a 4K HDMI output.

    Some of their older cameras with SDI can output 4K and if Convergent-Design was still around and booming, maybe they would support a 4K to 2K 444 conversion as they did with other cameras.


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