IAC DISCUSSION FORUMS

That's pretty good grading! At the moment I'm grading a field-trip movie I'm doing for our Yr8 geography class. Shot on a Sony A1E, with yellow highights, blue shadows and horrible contrast (Next time I'll use my HVX). Fortunatly in Media Composer I can at least controll High, Mid and Shadow separat...

Cheers, Ned. I had a look at the artical, the chap seems quite impressed. I had written off Libec after reading a thread over at scarletuser where a number of posters slatet off Libec. Still fancy Sachtler though even if only at the "yah boo my tripod's better than your tripod" playground ...

The red One is a pro digital cinema camera using interchangable, mostly PL mount cine lenses. Body only is $17500, and you know what's hapening to the exchange rate :( it's totaly out of our league. Scarlet should be another matter entierly, but isn't available yet. Editing could be a problem, but a...

On the 13th, Red are going to post the new specs for the Scarlet camera, I think this cam will be worth waiting for, if you can wait, and if you can justify the likely price, given the free-falling pound and the dire economic outlook :( I think consolidating your footage onto removable disks will be...

The editing of .r3d is pretty steep, I expect to have to get a new comp. I think Quad core is going to be minimum with as many gigs of RAM as you can afford. At the moment I have an eSATA case plugged into my laptop with removable hard drives. But yes, archiving without tapes is something that's giv...

I wonder, if people aren't needing a camera urgently, whether it might not be worth waiting to see what Red bring out with the Scarlet re-design? It looks as though the price could be in the £2000-£2500 bracket once it gets over here, and can record to CF cards. I would have suggested looking at the...

Knowing that SD PAL is 720 x 576 no matter what, having shot in 16:9 and imported into MC, I edit per normal, then in the export settings tick "Same as Source". During the coding to DVD I make sure the program knows it is dealing with 16:9 material by ticking the relevent box, and that is ...

Ned, hi... My main beef is that if you get drop-outs on a I frame you've messed up a whole GOP sequence, but beyond that its a conviction that such formats are best left for delivery where a careful 2-pass VBR encode can be performed, rather than the cam trying to guess what's coming next. DVCProHD ...

Hi. After some thought I'm inclined to agree with you re: HD cams. Since they have come down in price to the point of undercutting SD cams with 16:9 chips, unless one is thinking in terms of high-end (Digibeta say) then it probably is better to get one of the cams you mentioned, even though I'm more...

I don't know about HDV, don't use it myself, all my HD is in DVCProHD which I find I can edit easily on a dual core laptop running Avid MC3, with only 1TB of eSATA storage. I have an inherent distrust of all long GOP formats. I admit I have done a bit of HDV for work, but transcoded to DNxHD 120TR f...

RE: 16:9 PAL SD is always 720x 576, the widescreen format is simply obtained by stretching the pixels. A DVD will have a flag to tell the player what shape the pixels are. To film in 16:9 SD, you need a cam with 16:9 CCDs (As you said), however you don't have to buy a HD cam to get this, since some ...

FWIW I have an HVX, and very nice it is too!
My main gripes are that the DVCPro HD codec is "only" 1440 x 1080, and that it doesn't do 24p. Oh, and P2 cards run the thick end of £600 for 16 gig, and over £1100 for 32 gig, and that a 16 gig card only hold 17 min 1080p footage.
Dave