![]() ![]() The resulting mov file will run live in resolve full resolution and lots of grading with minor stuttering in the audio track. Because resolve doesn't support mts files, I do a convert to mov with 5dtorgb. The 100mb/sec was from a panasonic gh2 hacked(avchd) with intravenus patch. #5DTORGB GH2 WINDOWS#So bottom line: is the retina MBP the one and only mobile solution at this time? Or will a high-end Windows laptop like above get me better RT playback (with and without a grade applied)? #5DTORGB GH2 OFFLINE#The Hyperdeck 2 may be the better solution in the long run to deliver to offline in a quick and timely manner or for personal stuff where i want to get to editing sooner. ![]() Grading dailies would be nice but not a must have, not expecting the world. Basically, I just want to offload my CinemaDNG files and play them to make sure the offload was successful without any glitches, so we can format our cards and move on. It gets pricy so I wanted to know if I could get RT playback with this config or not when no grade is applied. There are some laptops out there (Sager/Clevo, Alienware) that allow DUAL GTX 680m configs, and 3 HDD/SSD or mSATA, 32GB RAM fully spec'd out. There are some great mobile GPU's out there, and so far I have come across only one person on Creative Cow who posted his result with BMCC RAW CinemaDNG 2.5K playback at 12fps with a GTX 670M. I understand there are too many options out there, but some guidelines would be great. Why is there no recommendations for any laptop configs? Broadcast safe values were there for a reason.Here's a question on the Windows config guide: EDIT: My friend says, if you work for television, you are not to twiddle with the settings. During transcoding 5D2RGB can change 60p to 23,98p or whatever mts (GH2) as originals in Premiere, and I didn't find any permanent damage to the footage with any of the methods - as long as you do the contrast balancing described above manually and don't just hit auto balance.ĥD2RGB is useful though for FCP X, because you may not have Cinema Tools, that allowed you to flag a clip with a different frame rate (within Premiere you right-click >interpret footage and change the frame rate). I tried the different settings of 5D2RGB, I tried ordinary Quicktime (did you know, that there is no gammashift in Quicktime anymore since Lion?), I tried. In FCP X grading is not only completely done with highest precision, it is also no longer an effect, but just the always available info of the clip - just never, never, never use the secret analyzing, auto-balancing and autocorrecting method FCP X offers you when you import media! Let these things be done by Motion (where you change the bit depths in the projects properties, as in After Effects). As you can see, there are also many, many effects without 32-bit rendering. There is this list, however, and there you see the little ¹ that indicates 32-bit-filters, the Color-Correctors are among them. Never use just one effect without the 32bit-icon!įCP7 does not show you if a filter uses 8-bit or 32-bit. Premiere shows you the quality of any filter as an icon right to the filter's name in the list, it is something like a folder with "32" in the middle. Do all this with 32-bit floating point precision. Lower the highlights until they all are crumbled under the "100"-line (some of them will go to 110 or so) and you'll get better defined whites, raise the shadows to "0", but not higher or you will get fog. I didn't understand why, it has to do with broadcast safety or what have you.The "fix" is quite simple: In your NLE (not limited to Premiere or FCP) open the luma waveform monitor. ![]() Stu Maschwitz describes the limiting of values (that is cutting off blacks and whites) in his DV Rebel, and for DV, hence the name. ![]()
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