Mailing List AE-List@media-motion.tv ? Message #44487
From: John Morgan <John.Morgan@slcc.edu>
Subject: RE: [AE] [OT] musings on the future of Mac "Pro"
Date: Thu, 14 Jun 2012 09:35:54 -0600
To: After Effects Mail List <AE-List@media-motion.tv>

I’m “un-pro” enough that I got an F3 just for low noise capability.  : )  Not for the S-log 4:4:4 stuff. I use it as my Glidecam camera. Since I’m entirely in the web video/presentation from projector world I like the fast/cheap method of pulling native .mp4 files direct from the SxS cards. Compared to how P2 cards work, I really like the USB port right on the SxS card itself. 30% faster than pulling from the F3’s USB port.

 

Plenty of respect for those who do real cinema or complex 3D work with the high-end tools!

 

John

 

From: After Effects Mail List [mailto:AE-List@media-motion.tv] On Behalf Of Jack Tunnicliffe
Sent: Wednesday, June 13, 2012 6:00 PM
To: After Effects Mail List
Subject: Re: [AE] [OT] musings on the future of Mac "Pro"

 

Working on a movie right now shot Epic 5K. Many shots are repositioned and zoomed up as much as 200%. You can't do this with something that's 1920x1080 in the first place. You can zoom in a little but now 200% to make a single out of a wide shot. 

 

Most effect plates are pulled in log at 2K and often larger  for complex 3D work such as green screen keys, set extensions, etc. RedLogFilm exports as log through RedCine-X or Davinci or AE. The option just doesn't exist when you haven't shot with a large format raw camera. I love the Sony F3 cameras, large pixels, low noise but when are they going to allow us to get at the large image? Sony keeps telling me its just a firmware upgrade away. Maybe. 


Jack Tunnicliffe

Java Post Production

www.javapost.ca

 

 

 

On Jun 13, 2012, at 12:58 PM, John Morgan wrote:



Playing off your mention of Arri RAW and Red, it strikes me that some in this industry have gravitated to Arri and Red for the express purpose of being able to call themselves “Pro”.  IMO, if they’re not shooting for cinema-sized outputs, what’s the point of all that resolution? I’ve always chuckled at some in that crowd, anxious to call themselves indie film makers, who don’t have the infrastructure, storage space or means to edit and handle 2k-4k material. 

 


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