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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

What codec should I use to get the most LOSSLESS result ?

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Guilain

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Hi guys,

I keep on searching for an answer here and there but I ain't got no luck at all...

I like LOSSLESS things... Even if 4K "can't be" played, I WANT to export a 4K sequence (to convert it in any format after is not a prob, but I want a lossless base)...

What setting should I choose in REDCINE to get the most LOSSLESS result ? TIFF, DPX, Uncompressed 10bits... It has to be playable in FCP...
:biggrin:

Thenk u very much all...
 
Hi,

I guess that would be TIFF but it will be hell of a big file.

DPX are smaller and will deliver enough info for you to make film prints out of it, so I guess that is one of the best and preferred options for post houses.

(It's also important that you output it as camera RGB and REDLog, to deliver as much of a "negative" as you can with as much "info" as possible for grading. This is if you didn't primary grade in REDCINE already).


Kind regards,


Fredrik Callinggard
 
OpenEXR 16 bit floating point
 
OpenEXR 32bit float is the real man's file format. 16bit TIFFs, like decaf and quiche, are for LOSERS!!!!

All kidding aside - if you tell us more about your project you may get more informed recommendations about file format.

For instance, OpenEXR 32bit float will provide the most accuracy, but probably won't offer much advantage over any 16bit integer format like TIFF unless you plan on some serious color & luminance manipulation in post. And if bandwidth & disk space are an issue, a 10bit format like DPX can be used. Not as much accuracy as a 32bit floating point file, but plenty for most productions, and it's the standard for film i/o.


cheers,

John T.
 
i want to output prores hq to fcp in 1080 or 720 for outputting to tape as masters to use in a project alongside varicam footage and dvcpro.
whats the best settings for debayer et al...color timing aside. and should i use Alert or Cine?
 
What if space,time where not an issue would OpenEXR 32bit float be the best? If you wanted to finish in 4k and take advantage of every ounce of image data you could? What would be the extreme?
 
OpenExr 16bit float has less info than 16bit integer, but more than 10bit. Depending on compression used it also has smaller file sizes. Modern graphics cards from both Nvidia and ATI support it, based on their marketing spiel.
Either 16bit float or 32bit float should be considered lossless.
 
Damn, was searching about grading workflow and found my old post ! I didn't receive any email notification (options prob)...

Thank u, late, for your replies... :poster_oops:
 
affordable?

affordable?

Can these 16 and 32 bit workflows be considered affordable? And doable on a desktop?

How much are we talking as a minimum floor?

I'm also wondering if using 4k files for grading is exponentially more expensive than using 2k files, if you are sending to a post house for the final step before film out?

Which brings me to whether the cropping should be done with a 4k master or 2k master in mind?

I had assumed 2k was the standard that could barely be affordable for a low budget production. But, the issue about 4k being required for decent noise reduction is bothering me.

How can a feature film be assembled at an affordable (dirt cheap) price point given all these constraints?
 
Yeah, I second that. Plus, no headaches with gamma shifts.
 
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