:12 PM
To: Experimental Film Discussion List
Subject: Re: [Frameworks] HD cam 24 vs 25? vs DCP?
If you're stuck with Blu-Ray, definitely use
professional optical media. Taiyo Yuden is the
gold standard. They make DVDs under their own
brand as well as others. For Blu-Ray, I think
Taiyo Yuedn
I second Marco's rec. of Pioneer optical drives. I don't have a Pioner BR
burner, but I've had many, many DVD burners of different mfr., and the Pioneers
have consistently produced the best burns and been the most reliable. I've had
three LG BR-burners. One of them (older) died, but the latest
Another vote for Pioneer burners, they have the best reputation. If
you're on a budget, LiteOn is OK. They are cheaper, but I've never
had problems with them... under Windows. Really, the limiting factor
is the quality of the optical media.
//
Aaron
/
At 12/14/2013, you
The problem for the filmmaker in the digital age is that there is absolutely no
standardization between different screening venues. Some folks want files, but
only take certain codecs and containers (and different ones at different
places, of course...). And some folks want physical media:
The problem for the filmmaker in the digital age is that there is absolutely
o no standardization between different screening venues.
But there is standardization between commercial theatres. They _all_ take
DCP files. DCP files are the 35mm of the New Millennium.
Now, there are a lot of
Moira:
There’s HDCAM and there’s HDCAM SR. HDCAM is a terrible format, to be avoided
at all costs. HDCAM SR is ok if you want HD and need tape, but it is fading
quickly in favor of files.
While many are suggesting ProRes (and that should be ProResHQ 442 (I don’t
think you need 444 in this
If you're stuck with Blu-Ray, definitely use
professional optical media. Taiyo Yuden is the
gold standard. They make DVDs under their own
brand as well as others. For Blu-Ray, I think
Taiyo Yuedn have an exclusive with JVC. I go to
supermediastore.com, they have the widest selection of media
I'm looking to buy my first Blu-ray burner. Any suggestions?
-Original Message-
From: Aaron F. Ross
Sent: Friday, December 13, 2013 3:12 PM
To: Experimental Film Discussion List
Subject: Re: [Frameworks] HD cam 24 vs 25? vs DCP?
If you're stuck with Blu-Ray, definitely use
And as recently noted here, ProRes isn't available on PCs. Given what
production houses charge for transfers, it might behoove PC based folks to
invest in a used older Mac Pro (~$500) if only to make ProRes files.
I've been making ProRes files from a Win platform for ages now, no issues
at all,
INTERESTING
On Dec 13, 2013, at 4:54 PM, Sean M seanmorris...@gmail.com wrote:
And as recently noted here, ProRes isn't available on PCs. Given what
production houses charge for transfers, it might behoove PC based folks to
invest in a used older Mac Pro (~$500) if only to make ProRes
Fascinating, that's great news. Thanks for the info. Cinec Pro is 150
Euro for the noncommercial version, which is about US$200. Cheaper to
go the open source route and deal with the inconvenience. But if you
can deduct the expense from taxes, Cinec Pro might be worthwhile.
/
hey folks
I'm outputting a film to HD cam have the option of doing it at 24fps (the
project itself is 24fps) or 25fps (I'm making digibetas as well, so the
framerate conversion is happening anyway) - any thoughts on which would be more
useful?
there's also a DCP option, more expensive but
I'm also interested to see what people have to say on this.
I have the impression that HDCam hardly exists at all in Europe, whereas
in the US many places are equipped for HDCam but not DCP. So these
decisions also have to do with where you want to screen work more often.
Having said which,
I'd recommend getting your film transferred to the highest quality codec
available, then converting it to whatever you need on your own (or a friend's)
computer (if you don't have a Mac).
HD-CAM IS NOT FULL 1080P RESOLUTION!
It's a now technologically obsolete tape format that uses an
I agree. HDCam-SR is a preferable tape master (but expensive to read
from because only big labs have the players). A ProRes file is
definitely more useful to work with, though a physical tape master is
reassuring to have.
24PFS is the most compatible framerate for film original and HD
I want to reiterate that the ProRes codec is lossy. ProRes is
the best, it's full 4:4:4 color sampling and can optionally preserve
RGB color space if you're working with graphics. But if you're
looking for a truly lossless mastering format, the best option is
still Quicktime Animation at
thanks loads folks for all the feedback!!
this is a project that originated on super-8mm (18fps)
I did a 4K scan
then imported into avid as DNxHD 175X MXF
(the highest resolution I could get to play back on my laptop)
did all the conforming (stabilize, resize, timewarp, colour timing)
( sorry for the multiple messages, yahoo glitch ...)
moiratierney.net
vimeo.com/moiratierney
On Friday, December 13, 2013 12:34 AM, ev petrol epetr...@yahoo.com wrote:
thanks loads folks for all the feedback!!
this is a project that originated on super-8mm (18fps)
I did a 4K scan
then
From a presentation perspective, I'd nix both of the
rapidly obsolescing HDCam and Blu-ray in favour of a ProRes file. Blu-ray is a
pita for screenings. I've had discs that tested fine one day then wouldn't read
the next. Even with a BR data drive and the software it's a slow and potentially
lossy
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