Shooting 2 k S-Log2 on F5 (AXS - R5) / Prores 422

Similar Questions

• Optimum settings for the video shooting HD?

  I just bought a Panasonic AG-AC160a camcorder with the update of the firmware to the 1080 p/59.97 format with MPEG-4 AVC/h.264 compression. Since it is an upgrade of my DV tape camcorder, I am confused and do not know what is the best video format to save in. I'm shooting youth hockey games and want to produce the best HD picture I can and with as few steps as possible in PP CS5. I shoot about 45 minutes of content and I want to keep everything on a support. Thanks for the tips on the best parameters of format.

  Wilderness08 wrote:

  Thank you. When I shoot my son games of hockey I interrupt the camcorder whenever the action stops. When I got home, I noticed that a new clip is formed at each break of the shoot (I am used to capture my footage of the entire tape - even with several starts and stops - in a clip directly from my old camcorder). Is there an easier way to get these several clips in my Panel of editing without having to physically drag each from the project Panel?

  Also, what is the best way to copy/transfer files directly from the SDXC card to my computer for the files reside on the computer before their import and editing in PP?

  Welcome to the wonderful world of HD. I used the 160 before and it's a nice camera. I've been shooting with a HMC150 since 3 years now and I think that squeeze us every bit of juice out of it. A good forum for users of Panasonic's DVXUser.com go there and find the 160 has category and they'll be really helpful with questions from the camera.

  When it comes to HD footage on these cards, finally you will really like each time you stop the camera makes a new clip. That way if you've shot a lot of clips, you can choose which ones to import or transcode (to a different format if you wish) and saves disk space if you are transcoding your clips to another format (which can sometimes be easier on your system that modifying these files native AVCHD... which depends on your computer and how powerful he is). First, you'll want to copy the content of the WHOLE of the SDHC/SDXC card on your drive scratch (scratch disk simply means a separate hard drive where all of your images are stored. Do not change out of the card reader... copy EVERYTHING on your disk and use it. Again, you must copy the folder FULL of the small video files map structure. Then, you can use first media browser to import the clips you want. Just SHIFT-SELECT all the clips you want and right-click and import clips. If you want to drag multiple clips to your calendar, go ahead and shift + select all the clips you want and drag and drop on the timeline and they drop everything on in order. Photographing Hockey so I think we should turn on your shutter of your camera.  These cameras have sometimes "shutter stop" by default... If I remember correctly. It is easy to adjust. There is a shutter button at the top of the Panel where the farm of LCD and you'll want to have a shutter speed of at least double your pace. Normally double is acceptable. So if you're shooting at 60 fps, then press the shutter button and adjust to 1/120. When he says "Shutter" at 60 fps, which means that it is 1/60. It sounds good in my opinion, but for sports fast, you want not only blurred so I would make the shutter. If you shoot at 30 fps, and then set the shutter at least 1/60. Go too fast a shutter speed may begin to create a hyper-reel look similar to the opening Beach scene in Saving Private Ryan, that may not be what you want, that's why I say go double your pace to start.

  In addition, if you are on tripod, you can deactivate the OIS (these images) If you have problems with this movement at all. We keep the OIS on most of the time, but every once in a while on a tripod, that must be off because when you do a lot of Pan (which will be the case, I guess in Hockey), then you might see these weird little shifts in the image with these cameras as catches up with the OIS. If your final product goes on the web then I suggest 720 p 60 or 1080 p 60 because computer screens are progressive. If you go right on a DVD, then you probably won't notice a huge difference with 1080 vs 720 on these cameras. It is in any case my experience. If you go to the Bluray, then maybe try 1080. The forum I mentioned above will help you with those camera of choice.

  If you notice your computer bogged down editing these native AVCHD files, first put windows first of ' 1/2 resolution' instead of 'full '. Or you can transcode in a different format (for example. If you are on a mac, transcode to ProRes 422). Again, as I said before, it depends on the strength of your computer. Good luck!

• Workflow ACES thread

  First of all a big hello to everyone

  Today I received my new sony F55 and I feel very comfortable with the camera, of course a few things that are missing sill, as the HFR and exposure tools, but that's another thread. Here, I want to discuss, as says the subject, ACES workflow with raw F55.

  And to be honest, I want to keep it as simple as possible.

  Lets start with the basic things:

  0 configuration double shooting (SxS and FIRST):

  1 eat them both

  2 use the SxS equipment for editing in Adobe Premiere

  3. send an EDL "Davinci Resolve"

  -> 4. Relink raw

  0R?

  --> 4.1. Convert materials first with Sony RawViewer DPX sequence (Workingspace ACE, stay with the meta settings, Export DPX)

  --> 5.1. Link again to sequence DPX

  Standings:

  6. start ranking primary, secondary

  Export

  ---> 7. The part the more delicate that I must apply luts limiting to conform to the user end monitors, projectors...

  ---> 8. Good format, if I chose DPX format to ingest the rank with, how to export a single file like Mov H264.

  For example, when I use ranking Speedgrade a DPX sequence and then want to restore a file H264, I will eventually get the sequence just like unique dpx popular with extention mov, but not a single file.

  Maybe we can bring light into the big advantage of the F55 and ACES )

  Bravo and thank you very much.

  thebird wrote:

  First of all a big hello to everyone

  Today I received my new sony F55 and I feel very comfortable with the camera, of course a few things that are missing sill, as the HFR and exposure tools, but that's another thread. Here, I want to discuss, as says the subject, ACES workflow with raw F55.

  And to be honest, I want to keep it as simple as possible.

  Lets start with the basic things:

  0 configuration double shooting (SxS and FIRST):

  1 eat them both

  2 use the SxS equipment for editing in Adobe Premiere

  3. send an EDL "Davinci Resolve"

  -> 4. Relink raw

  This first method you suggest is go to work. I already did with FCPX, it's quick and painless. Shooting MPEG50 to SxS, raw to the AXS. Ingested MPEG to FCPX, then by solving related to the MPEG initially, but the difference between determination and NLE more is that it expects users to connect new media to and makes it completely painless and quick.

  I don't mess with DPX except if you need to share with VFX shots, in this case it is the standard.

  Even then, frankly, I would still make the first method MPEG offline and just do DPX for people who need them, as appropriate.

  #7 & 8 points

  7 - ACES uses an output module to target what is available that you will. So if for HD video, select you the ODT (output to a display Transform) to Rec 708. For the web, you could choose Rec 709 or a sRGB ODT.

  8 - resolve can create quite a few outings, including video MPEG4 (although VERY high speed).

  Will is not always the right tool, but it seems he got cevered to your needs, even the Lite version free.

• two editors working on the same project on fcp 7: workflow question

  Hi all!

  I am new to fcp (I'm more familiar with media deal) and I'll edit a project that has already been worked on FCP.

  shot mainly in 7 d over a long period of time, the whole material was converted to prores 422 format and is now about 15 TB of hard drive space. the project has been "divided" into several fcp projects (say that each project covers a period of shooting, and then there are several other who only have changes).

  I would like to be able to work in parallel with other chronologies, editor-in-Chief and Exchange.

  My idea is to recompress the projects that correspond to each period of shooting (it's where are the main elements) in prores proxy format and try to reconnect with modifications to those projects. in this way I intend to gather all the material in a 5 TB harddrive and I guess that the time I get to the other editor will reconnect easily. This hypothesis is correct? any ideas?

  each piece of advice will be highly appreciated!

  Thank you

  Nikos.

  Reissue of links, it's a matter of getting your labelling may file storage to match, if you do not change the actual disks, then it should be easy, if you have a single folder renamed path, because it is on a different drive, which quickly rebuilt too.  Relating to raw images.  Once you begin to break things down or work with proxy images, it becomes much more complicated.  I made the mistake of building a project larger than that, with sequences RED proxy files, with the same name in different folders.  What a nightmare to purge old proxies of the final edit (not the name of the product).  Now work with strips of first generation full resolution will work until you need a handful, then you're back in brute.

  Merge a calendar works well but the initial transfer of a project to tends to screw up.  Save after each keystroke, seriously.

• First Pro CC with Canon T6s workflow

  My name is Joe Hamm. I'm a jazz musician and become a filmmaker as well. I made a short documentary film which has contributed to my organization and my area sell to potential donors and build boards. I made this film using all material borrowed and learned from watching a lot of documentaries and to spend time on YouTube tutorials to learn editing techniques.

  Most of this was shot with a Canon XA10 I borrowed.

  Beyond the music: soundscapes, El Sistema and the power of music - YouTube

  Since then, I received requests for making movies for similar programs throughout the country. To reduce my costs, I finally bought a Canon T6s and am currently training on the subject. Soon I will start making movies again with the highest quality, that I was never able to accomplish.

  Here's my current workflow. I'd appreciate your comments to help me improve the quality of the image.

  Canon T6s, 18-135mm lens. Shooting at 23.98 FPS, FHD 1920 x 1080

  1. capture video sequences

  2. slide the MP4 files to Video folder on hard drive

  3. import into Media Encoder and convert to ProRes 422 (LT)

  4 import. In first Pro CC MOV files

  5 merge audio recordings and replace audio source

  6 edit

  7. apply the color corrections

  8. export to YouTube 1080

  9 download on YouTube

  Thanks for your ideas and your recommendations!

  You have a good start. I don't know how 'our' ideas will improve the quality of the image, but "we" can certainly help not the time it takes to go from 1 to 9 on your list.

  For your projects, I might suggest using prelude on ingestion... you could navigate to the media card reader, rub it to make sure what you want really... then set up a quick process to rename the clips for a work, copy the renamed original media to archive or backup file, transcode the same renowned media in your folder of work and of course add metadata at the same time you have need. ProRes422 (LT) is a correct choice for transcoding, but I might suggest Cineform 10-bit YUV... it's totally Visual lossless (especially with the media you use) and FLEET through the CPU used when editing.

  The sound that you have on your example is pretty decent... nice work. Most people get obsessed with pictures... and then find that without good sound, you might as well fuhgedaboudit. Good solid and adequate image is ok... Imaging good and bad sound is just useless. Don't know how you have managed this, but it's quite nice. Quite often the process is to get your low edit including say noise belonging to sections of voice-over added separately or used cams, and all the time that you have 'Edit locking' you send sound or hearing to do the necessary cleaning for sound media used.

  At roughly the time this color correction/grading themselves. Once again, only for the media on the final sequence.

  My only thought about the quality of the image... it's the 18-135 lens is convenient, but not necessarily the most beautiful image-creator you can get hold of.

  Neil

• Question about the capture in ProRes 422 HQ

  Hi, I hope that you´re having a great Easter!

  I m a fresh technical coordinator on an award show and do some research on this workflow we want to use for the project.

  As part of the we´re to see the creation of the comedy bits and other small videos for breaking the live broadcast, and I have to take a decision on what format we want in the shooting.

  We´re using first and to facilitate the workflow, I thought ProRes would be a good choice for the capture format. As much as we´re is not a large amount of shooting sequences. For this reason, I think that the shooting in 422 HQ is viable.

  However, I Don t currently have information about the use of we´re cameras, so here are my questions:

  It is common for the cameras to support ProRes capture more precisely 422 HQ?

  Which cameras support it?

  Are all memory cards capable of storing 422 HQ?

  Do you have the experience of working with a workflow of 422 HQ on smaller projects or possibly more? Disadvantages?

  
  

  
  Thanks for your time!

  EDIT: This is the right place for this question? If not, please direct me to a more appropriate forum. Thank you!

  Many high-end cameras are supported the record in ProRes format. If you find yourself using cameras do not record ProRes then you could always tie a convergent, or external such as Atomos products recorder which allows to record any flavor of ProRes to an SSD. Here is a list of Apple authorized products that support ProRes: https://support.apple.com/en-us/HT200321

  I don't know that is how updated, but given that the gun RED 8 K is about, it seems quite common. The list shows NLE, video cameras, and recorders, so it should give you a good start.

  The memory card or the SSD just need to be fast enough to support written bitrate of 422 HQ. Any SSDS should do, if you go with an external recorder. If you go with one of the cameras that uses a memory card, manuals and manufacturers can tell you recommended specs.

  I have experience with ProRes 422, no HQ, but if you have a fast enough machine, it should be quite pleasant to work with. The obvious disadvantages I can think would be needs of storage and bandwidth between your storage and your machine, especially if you go with a multi-cam project. A single stream or two of ProRes 422 HQ should read through any modern storage, high-speed.

• Is it possible to ingest 1080 p, video AVCHD 60 p in Apple Prores 422 while keeping 1080 p?

  I just finished a shoot which consisted mainly of filmed at 60 p, 1080 p.  I'm shooting AVCHD on a Panasonic GH3.  I am looking for transcode my footage in Apple ProRes 422 LT while maintaining my resolution and 1080 p 60 fps frame rate.  However, the only 60 p option I see is in 720 p.  Is there a way to keep my footage 60 p in 1080 p as Apple's Prores?

  I usually shoot in 24 p without problems swallowing, then this company 60 p is alien to me.  All advice is appreciated.

  Thank you.

  If you open Adobe Media Encoder and click on "RESET" then "create Preset" you can create your own custom preset ProRes. Simply choose "QuickTime", then a presets ProRes that's closest to what you want (Apple ProRes 422 (LT) - HD 1080 p 29.97 for example). Then go down to the "basic video settings" and change the pace at 59.94 or 60. This new preset will appear the next time you open prelude. I hope it works for you.

• This theory ProRes is a myth, or is it true?

  I shoot video AVCHD to a FS700 and edit and strongly grade natively in Premiere Pro CS6.

  Told me that if I convert my images in ProRes and THEN change and rank, the colours and the details will hold better what to do with native AVCHD and will ultimately better looking images.

  Here is a quote from the forum to justify that. Please can someone confirm if this is true?

  AVCHD is a very compressed and lossy format. Original filmed in AVCHD will look essentially good, but the trouble begins when you start recompress the images. Recompression happens whenever you convert images to another format, or when you use the images in an editing one environmentnd, you need to make your video.
  
  When you edit AVCHD natively, whenever you add an effect, title or whatever, you will lose quality and it will get worse the generations more than you do of your original film. That's why effects, titles, etc. are always rendered in ProRes 422 (or more) in FCP10. Because ProRes is resistant to several much better than AVCHD re-encoding.
  
  When you first convert your AVCHD to ProRes, you will get a first generation loss. But the advantage of the codec ProRes of is that it's a transparent format, i.e. Once your video is to the ProRes format it will not deteriorate even after several re-encoding. ProRes LT turn to 82 Mbps, but this does not mean anything. The LT codec is much more rigid than ProRes 422 and 422 HQ, which means once again that it will not resist several generations. That was why the best workflow is to convert any size with loss of a transparent format such as ProRes 422 and upward. You will always lose a little bit of sharpness in the first conversion, but from there you'll be sure even when you use the ProRes images in complex projects with several piles of filter.

  A myth.

  When editing with FCP, there was a natural tendency to convert a lot of source material to ProRes 422, simply because you had no choice. You now have the choice after moving to PR

  The choice is quite simple, either change the native format was shot in your hardware, or convert to ProRes 422. The Advisor must

  No convert to ProRes.

  Using the native format has the following advantages: No transcoding, none made, no modification of data, no recompression, no damage and no damage. But conversion ProRes 422 has singnificant disadvantages, it takes twice as long, it uses almost three times the disk space and shows no visible improvement. For example, ingesting a 16 GB card with MXF material on some machine takes about 6 minutes to the native format, but takes about 12 minutes when transcoded to ProRes 422, storage needs go from 16 GB to about 43 GB without visible difference.

  In addition, ProRes cannot be exported from a PC and has problems with the movement of gamma.

  The post you quoted has a serious flaw in it. He assumed that several of exports and imports, creating production losses. It's a very strange workflow. One would normally change and once completed, once export. This gives the same loss of generation as ProRes conversion first. Only with ProRes you will lose another generation when exporting one.

• Help editing AVCHD in first Pro CS5

  I've been editing on Final Cut Pro since 2001 but I plan to move to Premiere Pro. I bought the Production Premium CS5 earlier for AE and Photoshop but not much used Premiere Pro.

  I shoot AVCHD and have been transcoding to ProRes 422 to work with him at the FCC.  However, while Final Cut Pro X edit AVCHD without having to transcode to ProRes, it lacks some features that I need.  Then I opened to the top of the first, has imported the .mts files I shot in 1080 p 30 fps, and when I drag the files in the timeline that they need immediately (red bar above them, assuming that this means the same thing as in FCP).  When I visited the images, he plays very well and looks great.  However, when I go then playback is jerky, includes elements of the video to move in "blocks", and it seems that it would be difficult to work with.

  I am running CS5 on a new Macbook Pro 15 "with 2.0 ghz quad core i7 and 8 GB of RAM.  Then my what I was wondering it is... that's what everyone feels when they first AVCHD video playback?  Is it possible to edit images without having to make clips in order to obtain a clear image during playback?  I spoke with someone at Adobe briefly, and I think she told me that normally two AVCHD rendered must flow, but a single stream is normally not.  Tell me some good news so that I can take advantage of editing AVCHD natively and not to transcode everything I push.

  Thank you

  Mike

  Then I opened to the top of the first, has imported the .mts files I shot in 1080 p 30 fps, and when I drag the files in the timeline that they need immediately (red bar above them, assuming that this means the same thing as in FCP).

  No, who does not necessarily mean you have to return, but is the area code of your source footage does not match your sequence. What predefined sequence do you use? You can also drag a clip to the button new item at the bottom of the project Panel to automagically create a sequence that corresponds to your images. And read here to learn more about this that colorful bars mean in the body: Red, yellow and green make bars and what they mean "Premiere Pro workspace .

  However, when I go then playback is jerky, includes elements of the video to move in "blocks", and it seems that it would be difficult to work with.

  Right click on the program monitor or click on the exit button (three circles) and go to the playback resolution > full. This will force the full resolution of the AVCHD video decoding; requires more system, it will look better. This setting has no effect on the output - it's just for previewing.

  Bottom line: you should not have to make. Try the above and report if back is not fix things.

• If I can shoot in 1080, but I intend to download in 720, edit in 720?

  My camera doesn't shoot in 720 p, so I shoot in 1080 p. I always download my long program of weekly time in 720 p. Should I use a 720 p timeline? If so, this should make the faster encoding, right?

  Thank you.

  Tom

  UUnless get you I don't think it will make a difference in the export. However, the 720 offers the advantage of cropping.

• I clicked "Remove from toolbar" when wanting to shoot to the top of what I had downloaded - how to restore DOWNLOAD arrow on the toolbar?

  I clicked "Remove from toolbar" when wanting to shoot to the top of what I had downloaded - how to restore DOWNLOAD arrow on the toolbar? If I download an update of some kind - or a program, I should be able to click on the arrow that appears on the upper right side of the browser - right than the blue? I can't figure out how to restore! I even tried to close and reopen the browser to see if it will rest - but no.
  I am not programmer - so I need simple instructions!
  Help, please!

  Type of topic: customization< enter > in the address bar.
  In the new window, look for the icon. When you find it, press and hold
  the left button on it and move it to where you want it to be.
  You can move the icons you want here, but
  some icons are locked in place.

• I can't shoot at a site in the usual browser... in navigation private. I can pull up in other browsers and could pull up 2 weeks ago... now I can't. Please help me solve this problem?

  Question
  I can't shoot at a site in the usual browser... in navigation private. I can pull up in other browsers and could pull up 2 weeks ago... now I can't. Please help me solve this problem? Also, I can' signed in 'members only' in private browsing mode.

  Clear the cache and cookies from sites that cause problems.

  "Clear the Cache":

  • Tools > Options > advanced > network > storage (Cache) offline: 'clear now '.

  'Delete Cookies' sites causing problems:

  • Tools > Options > privacy > Cookies: "show the Cookies".

• seems I'm not the only one having problems with safari after update 9.3 cannot follow the links. Safari blocks. hope it gets fixed quickly. jaa shooting allows to follow the link, but the Web page is not out of good old days. any oher ideas?

  seems I'm not the only one having problems with safari after update 9.3 cannot follow the links. Safari blocks. hope it gets fixed quickly. jaa shooting allows to follow the link, but the Web page is not out of good old days. any oher ideas?

  The 'list' of relevant articles that I know, they are now

  -You can read about the problems in the present statutes and possibly find workaround solutions, particularly in the last

  If you are unable to activate your iPhone, iPad or iPod touch after installing an update - Apple Support

  Apple iOS suspension 9.3 updates for older devices, work on activation fix | IVous

  Apple launches new version of iOS for iPad users 9.3 2 affected by bricking bug | 9to5Mac

  GSM of unfixed addresses Apple iPad 2 Bug with revised Activation iOS 9.3, but the larger question remains - Mac rumors

  If you are unable to activate your iPad 2 (GSM model) update to iOS 9.3 - Apple Support

  9.3 iOS update issues

  Leave a post by: ChitlinsCC

• S - log2 *.mp4 transcoded to Prores mov becomes underexposed

  Hello

  I recently shot back footage on profile PP7 (S-Log2) on the A7S2.

  The *.mp4 file seems properly exposed, however when I transcode the file to Prores422 HQ in catalyst prepare files become very underexposed. It does occur with images shot in S-Log2 my other images shot in profile that PP2 daytime shows no offset exposure.

  I experimented by selecting Rec709 vs S-Log2 as the color space of output, but there is no difference.

  Certain files of information that might be useful:

  MEDIA

  Format - S XAVC

  VIDEO

  Codec - Long STROKE

  Profile and level - [email protected]

  Sampling YCbCr 4:2:0 8 bit color

  ACQUISITION OF METADATA

  Registration - Normal mode

  Cache rec - No.

  Capture gamma - S-Log2 equation

  Appreciate any help that anyone can be.

  See you soon

  Hi Tim,.

  Thank you for providing the images! I think I've identified the problem. The issue seems to occur because of the ISO setting max to catalyst to prepare ISO 10000. It seems that both provided clips go much higher than that. One is 20000, and the other is 25600. Because the preparation is not able to match a high ISO setting, it is failing to 800 and appearing so much darker. If you increase the ISO bar up to 10000, it will start more correspond to the original item. You can then use the tone curve to trigger even more exposure to the best match to the original.

  In the meantime, I'll check with our engineers to see what we can do to solve this problem.

  I'll let you know as soon as possible what we are facing.

  Thank you Tim!

• Can I use an external microphone while shooting video on my iPhone 5?

  Can I use an external microphone while shooting video?

  One attached to the device and an iPhone-compatible? Yes.

  See you soon,.

  GB