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  • Card strategy should be dependent on the type of shoot.

    if I'm shooting narrative/studio/cine-style work with a DIT then I'm swapping cards and off-loading as often as possible. Almost like loading film. There's really no downside to doing so. Within the span of a take or two we have three copies of the footage and someone will have (hopefully) noticed any egregious mistakes.

    Now, if I'm in the field/on location/live event or for some other reason I'm a one-man band, then I only swap on scheduled breaks.
    Pocketluts: Purpose-built LUTs for the Blackmagic Design Pocket Cinema Camera 4K
    Pocketluts Store

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    • Originally posted by John Brawley View Post
      Pretty standard practice on my sets to switch cards at lunch time. At most you loose half a day rather than the whole day and you know before the day is over so you have a chance potentially to reshoot.

      Iíve been lucky so far. My operator on the current show had an AC format a card with a half days work in camera. Another had their DP show the AC the formatting shortcut on an Alexa Mini....and to the ACís horror, formatted the mornings work.

      Remember when you couldnít format cards in camera ? ;-)

      JB
      A buddy of mine ACíd a feature recently shot on Alexa and asked if I could recover a formatted card that hadnít been offloaded. I had to tell them that the Alexa 0ís out data and the liklihood of recoverig anything would be a miracle..

      I work as a DIT, but even on my own personal shoots I make sure to put aside a few minutes to off-load and make 2nd back-ups. Itís so worth it, especially when you wonít be able to re-shoot.

      Most common things I would recommend to anyone is to always label your cards what the camroll is with a piece of red or green gaff so that you know if the card is hot or not (green for if the card is off-loaded and confirmed to be recycled), if that card is in the camera put the gaff on the camera or over the card slot, when youíre off-loading that card put the gaff on the card reader, if the card is sitting around the gaff should be on the card itself. You wonít ever be confused about what card is what and you can prep your labels before the shoot.

      If you donít have a DIT, bring a laptop at least if you can, you donít need a beefy machine to run the clone tool in Resolve with MD5 checksums. And even if youíre doing a shoot where you wonít have a chance to dump while shooting, still do it at the end of the day, donít wait until you get home.

      Break format your cards on your computer after youíve confirmed theyíre dumped. Reasons: You/your AC knows that what they put in the camera is good-to-go because the camera will force them to format and also it eliminates the chance that you/your AC will put the card a card back in and keep recording without formatting. Also, if youíre working with a camera like the Alexa that 0 data formats, if you catch a mistake you still have an opportunity to recover data because it was formatted in a computer.

      Ensuring data safety is always worth the time, better to miss one shot than an entire day.
      Darren Hartman
      Asyn Film | Banana Stand Media

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      • I usually bring six 128GB CF cards to a shoot, and normally they are more than enough for a whole day, so no need for on set downloading.
        Blog: http://frankglencairn.wordpress.com/

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        • Originally posted by Marshall Harrington View Post
          Ric, curious what were the file sizes when compared side to side between the BRAW and the ProResHQ?
          Hi Marshall. File size wise, BRAW is around a third of the ProResHQ. BRAW folder = 145GB, ProResHQ transcodes = 424GB. Until Premiere adopts BRAW (or I get my head around Resolve), I'm stuck with a transcoding workflow. But I feel the on set advantage, low noise and other RAW features are worth it!
          Working in Melbourne TV, indie webseries & features - showreel and other projects

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          • According to Redshark report higher resolution is smoother not sharper. One would expect sensor profiling in BRaw would optimise the image to be delivered in perfect resolution. Could that be what we are seeing in Braw?

            https://www.redsharknews.com/product...perfect-future
            Last edited by Taikonaut; 09-29-2018, 11:54 PM.

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            • Ric Resolve is awesome
              Peter A

              Meshmen Studio Youtube channel

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              • Originally posted by Taikonaut View Post
                According to Redshark report higher resolution is smoother not sharper. One would expect sensor profiling in BRaw would optimise the image to be delivered in perfect resolution. Could that be what we are seeing in Braw?

                https://www.redsharknews.com/product...perfect-future
                No. Not at all. The idea they're talking about is supersampling, also referred to as oversampling. BRAW is "smoother" because it's thrown out some of the information in the transfer.
                My Gaming YouTube Channel: http://www.youtube.com/gigab00ts

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                • Originally posted by Danji View Post
                  No. Not at all. The idea they're talking about is supersampling, also referred to as oversampling. BRAW is "smoother" because it's thrown out some of the information in the transfer.
                  They explain supersampling as seperate aspect of high resolution that are also beneficial in post production. Has BRaw really thrown out some of the information or has it properly align signals that were previously off or false that gave it the impression of sharpness such as moire?

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                  • Originally posted by Taikonaut View Post
                    has it properly align signals that were previously off or false that gave it the impression of sharpness such as moire?
                    From all the samples and everything posted so far, seems to be so. The false detail look from cdng looks very "hard" feeling and harsh. Bm raw edges look smoother and nicer and the weird random black dots you find on cdng are gone.

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                    • Had a pickup shoot for my webseries FLUNK this weekend, and ended up shooting some 50FPS 4.6k x 1080 footage in BRAW:









                      1:03 - 1:47 are BRAW. The whole ep is UMP 4.6K.

                      Much cleaner than some other footage. Still loving the format.
                      Working in Melbourne TV, indie webseries & features - showreel and other projects

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                      • Good news. BMD confirm there is progress with developing BRaw for UM4.6k

                        https://forum.blackmagicdesign.com/v...art=50#p445062

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                        • Originally posted by Taikonaut View Post
                          Good news. BMD confirm there is progress with developing BRaw for UM4.6k

                          https://forum.blackmagicdesign.com/v...art=50#p445062
                          Great news! My last project I shot 11TB (as 3.1 raw, plus raw out of my X5R), so I really am looking forward to BM Raw!
                          Paul Ross Jones


                          -------------------------
                          www.instagram.com/paulrossjones/

                          www.paulrossjones.com

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                          • Originally posted by Taikonaut View Post
                            Good news. BMD confirm there is progress with developing BRaw for UM4.6k

                            https://forum.blackmagicdesign.com/v...art=50#p445062
                            The sensor profiling is done because it's the same sensor as the UMP. That was Tim making a joke, hence the smiley face after it.
                            Blackmagic Design
                            My BMD LUTs.

                            **Any post by me prior to Aug 2014 was before i started working for Blackmagic**

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                            • Originally posted by CaptainHook View Post
                              The sensor profiling is done because it's the same sensor as the UMP. That was Tim making a joke, hence the smiley face after it.
                              I still see that as progress. If BMD can joke about it and reiterate their intention they must have confident in achieving it. From their track record they never joke about something they would struggle with, well maybe the GS on the UM 4.6k

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                              • I still have my fingers firmly crossed that BRAW can be brought to the URSA mini 4K.
                                Blackmagic Design User Group UK

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