Welcome to our community

Be a part of something great, join today!

Log in
  • 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 :)

Pro Res?

Half debayer for 5k prores is distroying the purpose of using 5k prores. Why don't you use offline? Is it for VFX work?
Please do y Full debayer if you need 5k prores.

Pat
 
So the clip is about to finish it actually took an hr to transcode.

Isn't De-Bayer only for smaller resolutions than Native?

Going from 5K R3D to PrRes 5K there's no De-Bayer needed right?

CMOS sensor is Bayer so where are you pulling the other color values to represent full RGB per pixel?

10 Minute 5K HD ProRes 422 HQ file is 97GB.

Doing a run at 1/16 De-Bayer for speed and quality sake.
 
Rocket X for full debayers is my preferred choice no matter how compressed its going, DNXHD 36 even, doesn't matter...At least its preserving what it can while chugging along insanely fast too..
 
So here are my results...

10 Minute Clip R3D Epic MX 5K HD 5:1 -to- 5K HD ProRes 422HQ

Full DeBayer------------ 60 Minutes
1/2 PremiumDeBayer-- Had to go to bed, early call..longer than Full Debayer
1/16 DeBayer---------- 40 Minutes



Always used full De-Bayer now I see why.

My RR-X is great for 2K it rips but trying to get 5K ProRes is a different story.

So they want 444 5K ProRes and it takes even longer than 422HQ which my test consisted of.

The only way I could see Weapon doing HiRes ProRes is by putting a designated chip to do so much like F55 but even the Sony CBK-55PD chip only does 2K ProRes.

I think its looking like 2k ProRes in Weapon just my opinion.

Patrick yes it's heavy VFX work doing Practical Effects of Human Morhping to Monster so they want the transitions between 7 phases of Make Up to Morph realistically.

It started with 4K 444 ProRes but then got bumped to 5K =(

My system isn't fast enough tmrw will be interesting....wish me luck

Really curios to see who is getting RealTime 5K rips and with what build.
 
In response to a PM in regards to the Varicam it is definitely no boat anchor and it should not be underestimated. I have seen and had the camera on my shoulder and it is reasonably compact and only 6 kilos naked. It sits between an Epic and an Alexa. Cost wise Panasonic Australia is releasing them at a special deal of 40 grand AUD or 32 grand USD. I love that the camera has the horsepower to record 4K and HD at the same time. The 5000asa setting kicks Alexa and Dragon's ass down the street and the colour science and imagery is top notch.
Although the camera and recorder is two seperate modules the Head Designer of the camera direct from Tokyo said they had no plans to build upgrade modules but it was a possibility if there was future demand.
There are two alternate camera heads a 2/3" and a S35 version the bummer being the S35 is PL mount only. The designer said it was possible for 3rd parties to make alternate mounts but I doubt a mount change would be as easy as Epic or Amira.
I am already invested in the Red System but I would seriously consider the new Varicam camera as an alternative to Dragon or Alexa . BUT presently I won't change systems as the Weapon release has the potential to push Red to another level again. We shall see soon enough.
 
For me if the Weapon kept 6k FF but also produced 3kFF Prores, then 5k FF non windowed producing 2.5k Prores. And how lovely if 4k FF non windowed producing 2k Prores. 50% scaling is always more efficient, like now when the best 1/2 debayered from the SDI is running in 3k. If they now have power to do this I will very happy.
 
This pro re business may be just enough to stop me from selling up and jumping across to an Alexa Mini..... we shall see :-)
 
Bill Sepaniak said:
Check out Mamba FX from Mistika.
Click to expand...

Mamba and Mistika uses ffmpeg for Prores encoding, which basically means, Prores created by that software will not pass network QC.
Scratch is a much better solution. It uses official Apple license for Prores recording on Windows.
 
What's interesting IMO is that the addition of on-board ProRes is arguably just as groundbreaking as the Dragon sensor.

Obviously, Dragon without ProRes is more important than a normal camera with ProRes. But ProRes will be a huge catalyst in propelling RED ownership and usage in film and TV. I'd be surprised if RED isn't back-ordered for 2 or 3 years.
 
Havent used ProRes in years. A nice option for those who need it though. Hopefully it's an optional module.
 
I've got a feeling that WPN can / will write both RAW & ProRes files to the same card at the same time on the fly. That would help explain the need for larger & faster cards.
 
Ok just a little crazy thought here. If you can shoot 2K Red RAW at about 240... what do you think the frame rates will be for PR at those formats?
I know I know 2K not the most ideal but the higher frame rates on some jobs would be nice...
 
Just a guess, but:

At sync sound frame rates, with moderate compression ratios on the R3Ds and assuming write speeds in the 150-250MB/s range with the mini-mags I would imagine that ProRes 4444XQ at 1080/2K or ProRes 4444 at 2160/UHD/4K would be manageable as a simultaneous write to the mag.

The more interesting equation might be for over cranking situations where turning off ProRes might allow higher frame rates. I doubt it can be done, but if you could "record" the slo-mo material to ProRes while "playing back" the R3Ds after the take… Maybe with a large enough internal buffer? Maybe with a module?

What if you could add a second recording module for mini-mags and write R3Ds to one and ProRes to the other for situations where the compromises of recording both to one mag was an issue?

Cheers - #19
 
jake blackstone said:
Mamba and Mistika uses ffmpeg for Prores encoding, which basically means, Prores created by that software will not pass network QC.
Scratch is a much better solution. It uses official Apple license for Prores recording on Windows.
Click to expand...

I've broadcast ffmpeg ProRes commercials before. Those nitwits often ask for H264 and refuse to take DNxHD.
 
Gavin Greenwalt said:
I've broadcast ffmpeg ProRes commercials before. Those nitwits often ask for H264 and refuse to take DNxHD.
Click to expand...

Never underestimate the ineptitude of some in the industry. I recently had a post house and producer demand the "raw ProRes 422" files from a Dragon shoot "because they are the best quality." When I offered .r3d or ProRes 444, demanded a transcode down to "the 422 raw."
 
While I like the r3d workflow. There's something about being able to shoot at the full 6k sensor, add proper sharpening and record to a 4k prores file that makes me giddy!
 
Shooting proRes Video would be like shooting my photography in JPEG. But hey, that's just me. I also have no desire to have R3Ds and 4K proRes files on my system either. I do see an advantage to having ProRes Proxy Files at no bigger than HD for dailies.
 
You must log in or register to reply here.
Back
Top