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| LOL, managed to avoid the spit-take! Look, I'm a quality freak. Whatever I do, I want to do the best it can be done, always creating and preserving the highest video and audio quality from acquisition-to-master and from master-to-deliverable, within the target specs of the job. In my analog beginnings in this business you wouldn't believe the hoops I would jump through for a bump in quality. My quality freak-ish-ness nowadays translates to the principles of good, intelligent (non-wasteful) workflows. I believe in the proven concept of over-sampling, but often the budgets, projects and crews I'm working with do not shoot resolutions higher than 1080p. Rarely I get a 4K-shot RED job to "finish" in 1080p, but enjoy it when I do. But I believe strongly in doing all you can to work in what I think will remain a dominant standard for mastering (and deliverables) for a good long time. That's 1080p. The fact that a client may want a smaller deliverable today is not enough to sway me (very often) to throw away that resolution at the start of the project. Rather, I'll produce it 1080p and deliver a 720p and enjoy the benefits of oversampling (for that deliverable) but also have that 1080p master and raw footage to draw upon in case there's a future higher quality use. As far as low-data rate green screen keys, sure--I've seen it done....and I've even pulled them myself. Doesn't mean I want to. When I work with XDCAM footage at 35mbit vs. at, say 220mbit 422 recorded by a nano-flash one of my DPs uses, the differences are more readily apparent in the keying than even the viewing of straight video. The stuff just eye-dropper-keys so freaking well without nearly as much choking, fiddling, etc. BTW as you crank up the data rate you do see diminishing returns once you get over about 120-130mbit on XDCam 422 but it's still interesting to compare. I've settled on 140 long-GOP for interviews and b-roll and 220 I-frame for keying an vfx. Carey On Feb 16, 2012, at 10:39 AM, Dave Bittner wrote:
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