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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 :)

4K ProRes is Coming

For those who need the bitrates of the various ProRes codecs, here's a nice Excel table I created from Apple's Whitepaper (June 2014).
You can use it to make calculations and such, so it's more useful than just plain text in PDF format.

Mega link to download Excel file.

Phil, if you find it useful, would be nice if you could host it on your end as well.
Cheers.
 
I can't say much about features and commercials but in episodic TV the Alexa and Prores have dominated. They are famiar, fast and user friendly. Good enough really is in TV. Of course shows like "Better Call Saul" and "House of Cards" show what's really possible when creative produces embrace a vision and really care, but "making the day" is much more of a priority to most shows. We used to use Epics for smaller moving stuff a few seasons ago but have since switched to BMPCCs and the Sony A7s. Again "good enough" is the only criteria in TV.
 
Evin Grant said:
I can't say much about features and commercials but in episodic TV the Alexa and Prores have dominated. They are famiar, fast and user friendly. Good enough really is in TV. Of course shows like "Better Call Saul" and "House of Cards" show what's really possible when creative produces embrace a vision and really care, but "making the day" is much more of a priority to most shows. We used to use Epics for smaller moving stuff a few seasons ago but have since switched to BMPCCs and the Sony A7s. Again "good enough" is the only criteria in TV.
Click to expand...
Fast enough is also a major criteria.
 
Hey evin,

do you think a 6k Prores file right off the camera would make a difference?


Evin Grant said:
I can't say much about features and commercials but in episodic TV the Alexa and Prores have dominated. They are famiar, fast and user friendly. Good enough really is in TV. Of course shows like "Better Call Saul" and "House of Cards" show what's really possible when creative produces embrace a vision and really care, but "making the day" is much more of a priority to most shows. We used to use Epics for smaller moving stuff a few seasons ago but have since switched to BMPCCs and the Sony A7s. Again "good enough" is the only criteria in TV.
Click to expand...
 
Hypothetical question: now that H265 is getting closer, would it be feasible for Red to offer a future firmware upgrade to record H265 instead of prores? I wonder if that's technically possible... and if it could result in higher fps for Weapon M?

P.S. David, I hope Red is listening to your 6K Prores idea. You're probably correct that the bottleneck is scaling speed, not record data rate.
 
Sven Seynaeve said:
H265. Seems a good idea; Especially regarding THE idea that Mark from offhollywood mentioned for uploading dailies directly to THE cloud
Click to expand...

Sure, until a hacker leaks the next big superhero as if it were Jennifer Lawrence's booty or Amy Pascal's email.

OR- a hacker will leak Scarlet Johansson's super hero booty from dailies and the studio will pick up a legal case.
 
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Dailies need to Represent what you shot that day and to see if changes need to be made, but if the compression to 2k ProRes is a correct Representation ... who cares

  • you can use it as a Proxy File(what an AE would do in post) to go strait to the Editing bay.
  • Obviously you'll finish in R3d 6k/8k
Weapon won't be the High-FPS that the Epic is, it's most for better compression ratios and quality. Which is needed for Bigger Budget Features...
 
Scott Crawley said:
Sure, until a hacker leaks the next big superhero as if it were Jennifer Lawrence's booty or Amy Pascal's email.

Worse yet and just as likely; a hacker will leak Scarlet Johansson's super hero booty and the studio will get the legal case.
Click to expand...

Technicolor and other facilities upload hours of secure streaming dailies every day. They've been doing so for several years on some of very big shows.

http://www.postmagazine.com/Press-Center/Daily-News/2011/Technicolor-launches-dailies-solution.aspx
 
Alex Boothby said:
Technicolor and other facilities upload hours of secure streaming dailies every day. They've been doing so for several years on some of very big shows.
Click to expand...

I know, and unless they put more into infrastructure and security than Apple or Sony (or Target, TJ Maxx, Blue Cross Anthem, Chase Manhattan etc. you get the point) odds are their number is coming up too.
 
Alex Boothby said:
Hypothetical question: now that H265 is getting closer, would it be feasible for Red to offer a future firmware upgrade to record H265 instead of prores? I wonder if that's technically possible... and if it could result in higher fps for Weapon M?
Click to expand...
Prores and H265 are not the same thing. One (4444 and 4444XQ) is an acquisition codec (Alexa and Amira anyone?) and the other is a delivery codec. One can be graded very well and the other one not so much.
 
Scott Crawley said:
I know, and unless they put more into infrastructure and security than Apple or Sony (or Target, TJ Maxx, Blue Cross Anthem, Chase Manhattan etc. you get the point) odds are their number is coming up too.
Click to expand...

My guess is that secure dailies streaming is here to stay. So is watching movies on an iphone, MP3s and other catastrophes of convenience. Reminds me of David Fincher's comment about the many decades we deliriously trusted under-paid, under-slept PAs to deliver original neg to the lab.
 
Alex Boothby said:
My guess is that secure dailies streaming is here to stay. So is watching movies on an iphone, MP3s and other catastrophes of inconvenience. Reminds me of David Fincher's comment about the many decades we deliriously trusted under-paid, under-slept PAs to deliver original neg to the lab.
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of course.

... Not that I am tacitly encouraging anyone to leak Scarlet's bodaciousness or anything... That would be wrong.

edit
... Unless her publicist were behind it

edit:
... With her consent and all... :)

edit
security and and internet are two words that have no business together unless the word theater is involved. ;-)
 
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jake blackstone said:
Prores and H265 are not the same thing. One (4444 and 4444XQ) is an acquisition codec (Alexa and Amira anyone?) and the other is a delivery codec. One can be graded very well and the other one not so much.
Click to expand...

I haven't played with any H265 footage yet but it was "Hyped" (capital H) to have Prores 4444 quality at 1% of the file size. And no, I don't believe that, but it could be useful for on-set dailies. R3Ds would be used for final grade. I'm considering the Weapon Magnesium upgrade but am concerned by the prores specs. I'm just wondering if there's a lighter codec which could record simultaneous dailies at max fps.

Are H265 hardware encoders even on the market yet?
 
Scott Crawley said:
of course.

... Not that I am tacitly encouraging anyone to leak Scarlet's bodaciousness or anything... That would be wrong.

edit
... Unless her publicist were behind it

edit:
... With her consent and all... :)

edit
security and and internet are two words that have no business together unless the word theater is involved. ;-)
Click to expand...

Makes me wonder what the final numbers were for The Interview. Looked like a marketing coup!
 
Alex Boothby said:
Makes me wonder what the final numbers were for The Interview. Looked like a marketing coup!
Click to expand...

But you would be wrong if you proposed that. Don't get me wrong, I don't think the film would have done so well without the spectacle, but the spectacle itself was no farce.
 
Scott Crawley said:
But you would be wrong if you proposed that. Don't get me wrong, I don't think the film would have done so well without the spectacle, but the spectacle itself was no farce.
Click to expand...

Not saying that secure dailies streaming doesn't have risks. Just saying that it is already in wide use and has been embraced by some very big shows. Presumably the studios, bond companies and insurance companies considered those risks.
 
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