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ProRes 4:4:4 possible?

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  • #46
    Right, I know the difference/value between the 5D and something like the BMCC but I was meaning more like a 4:4:4 source and RAW from lets say any RED cam or the BMCC. Both can be pushed around so much and retain quality that I'm wondering if there's even a point in saying that the BMCC is technically (by the numbers) between 4:2:0 and 4:2:2. I guess my question is can you really tell the difference between color correcting a RAW source that is technically between 4:2:0 and 4:2:2 like the BMC and color correcting a RAW source with enough data to fill 4:4:4. I dont have any experience with this but I'm wondering if there's any perceivable quality difference to the human eye after color correcting and if there are any differences in the color correction process as there is between the DSLR or even HVX200/HPX170 and the BMCC RAW or even the BMC's ProRes 4:2:2.
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    • #47
      Originally posted by PaulDelVecchio View Post
      Right, I know the difference/value between the 5D and something like the BMCC but I was meaning more like a 4:4:4 source and RAW from lets say any RED cam or the BMCC. Both can be pushed around so much and retain quality that I'm wondering if there's even a point in saying that the BMCC is technically (by the numbers) between 4:2:0 and 4:2:2.
      Which is kind of my point with the danger of describing CMOS sensors in this way.

      It's correct to say that they have a differing ratio of brightness to colour samples.

      Its *convenient* to compare it to chroma subsampling for video which is actually a different set of numbers. But the comparison is only valid for the *RATIO*.

      What happens is that lots of people equate that to being true and it just turns into the BMCC is a less than 4:2:2 or even a 4:2:0 camera. It's more complex than that.

      And that's why the comparison is misleading. Because it undervalues the true results you'll get. People started talking about how terrible the BMCC would be for keying because it's got "less" than 4:2:2 chroma resolution.

      A RAW workflow further complicates this. It also doesn't take into account the huge difference bit depth, zero compression and DR will make.

      Quite frankly, I'd expect aliasing to be more of an issue than the "less than 4:2:2" issue for keying in real world terms.

      jb


      I do remember Sony used to say their crappy 8 bit HDCAM format was 22:11:11...what happened to that....??

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