jgharding

Use this link to discover resolutions:   http://www.calculatorsoup.com/calculators/math/ratios.php   Put in   X : 1 = ___ : 1080   where X is the ratio you want dimensions for, it will fill in the ___ with the horizontal dimension you require.

Now I tend to frame while ignoring the far right and left of the screen, and crop to 2.66:1 or similar, when using  a 2x anamorphic which should be 3.56:1.   I other words, I make a sequence at 2872 *1080 (about 2.66:1), but drop in my footage and scale it 2X as this was type of lens it was shot on.   That crops the edges off for me, but I have everything in the right proportions with super stretchy bokeh and it looks lush. Also there is no vertical scaling.

  When it comes to AVCHD and the like, yes, as the disk load for that is rather light but processor overhead is heavy.   For Red and the like, yes I could do with higher disk speed too.

Utterly bizarre...    Way overpriced, weird lens choice, no 25p, no 50 or 60p.   I don't get this one... I'll just pretend it didn't happen...

I haven't tried A/Bing denoising at 48kHz or 96kHz so I'll give it a go!

Thaks for the tips, I'll have to check the PSU and get back to you. I think it's 800W but I don't know the precise model...   I've not done a lot in DaVinci yet, but the current card doesn't seem to be enough for Premiere with some footage. I'm also editing more Red these days, so more power would be a bonus!

  That only appears to cover stills shot in SAM.

Sounds like a good tip, cheers! Do you find playback and editing smooth?

Indeed, for most corporate type video, where people never make up their f***ing minds and endless want to tweak stuff, it'd be suicidal to commit to an edit, so Colorista II is great there in timeline, as well as Premiere Adjustment Layers for quick looks.   If you're working with talented or genuinely creative people though, and the project isn't corporate vanity work you tend to be able to get a hard sign-off on the edit, then you can use DaVinci or similar on your final.

  That'd be interesting to see...

  There is an HDMI port, but it's in an awkward location, if you can get a riser between the camera and tripod or rig, then you can use an external monitor.   A cable like this: http://www.amazon.com/gp/product/B004C4SHQY/ref=oh_details_o00_s00_i00   It's almost like they... didn't want you to use it while shooting...     Apparently you can output 50/60p to it during record, for uncompressed capture using Blackmagic recorder, though I've not tried...

Hmm I think I'll stick with DaVinci for the moment, I'm not much of a coder!   I'm interested as to how you went about making this look, it doesn't look just like simple colour shifts, if you wouldn't mind sharing I'd be interested to know how you made the colour styles at 19 seconds and 1:44 for example, if you have a moment.   Do you have specific colours saturated? I'm intrigued... 

This was what was recommended to me, and is powerful and quiet! but I'd like some cheaper options too,   http://www.scan.co.uk/products/3gb-pov-tgt-gtx-580-beast-40nm-4104mhz-gddr5-gpu-855mhz-shader-1710mhz-512-cores-mhdmi   The 590 is about come out with 1024 cores and 3GB RAM, but I'd rather not have to sell an organ...

Hi all,   I'm currently running an Nvidia Quadro FX3800 in my Windows machine (24GB RAM and a speedy i7) but it doesn't really give me enough punch for final H264 renders, real-time playback of multiple streams AVCHD, and so on.   Does anyone have any recomendations for a good Nvidia card price/performance wise?    I've had recomendations for a Geforce 580 3GB memory version, but I'm keen to not go out and buy something speedy and find it's incompatable with Adobe and DaVinci,   Any and all help and personal experiences appreciated, friends!   JGx   PS. Also, I like machines to be relatively quiet, as I do a lot of audio work too. If it has three massive fans on it and sounds like a hoover, it's out of the running. Do lemme know how loud yours is! ;)

I feel the outcome will be:     I don't think Jim will win this one... fewer law suits and sourness, more product development and competitive pricing please.

Always 24-bit, just because it gives you more resolution with quieter sounds. Zooms are noisy when sounds are quiet (signal to noise ratio) so try and keep your gain quite high without clipping.   48kHz is your video standard, just use 48kHz 24-bit if in doubt.   I spent years in pro audio embroiled in endless debates about benefits of high sample rate (basically recording frequencies beyond our hearing range, but that may have an effect on frequencies we can hear or that processors can use). If you're working with lots of analogue outboard studio gear then 96kHz is good, if not go for 48kHz.   At one point I even started reading Dan Lavry's papers on sampling theory. After going that far down the rabbit hole I emerged to A/B a few recordings...   And concluded you should just stick to 48kHz 24-bit for the most part and save yourself the brain space and the sleep!

This video has good information about their usable range, as well as some interesting points of view about OLPF   http://www.youtube.com/watch?v=lyWvk8pnvbw&feature=share&list=UUA76YERnqvbMMsxrxb0dmig

Ah I've never thought of Scratch, but I've had a look around and it reminds me of DaVinci... also resembles the kind of price DaVinci used to command!

Interesting, so it's lower level (in programming terms, not complexity!) than DaVinci? You built modules from modules as it were? It sounds like Synthmaker modular development for audio in a way...

Since they usually drop down through the ranks in a regular pattern, perhaps there will be an even less expensive full frame than the 6D soon.   They need their new 550D: budget but powerful. A full frame Rebel would literally clean up! Though us video guys would be annoyed with aliasing. I'm very used to using the Mosaic filter now though, it's not too much hassle and works great, but of course we shouldn't really need it.   So I'm hoping for a full frame budget model for stills :) but for video I think they're still protecting their Cinema line and top end like crazy... :/ The C500 is a perfect example. It's the top and it's actually still pretty poorly specd compared to other cinema cameras, demanding an external recorder for raw and 4:4:4 and only getting up to 60fps. I would never pick it over a Red One MX, for example, which is cheaper to buy, hire and gives you stunningly beautiful RAW 4K codec right off the SSD, that you develop in your Premiere timeline natively!   Hardware crippling is their obsession. Of course, if they didn't play so safe, they could absolutely wipe the floor, boost profits and push things forward. Sad really...   And it's a real shame because I still enjoy the feel of their images. Dunno if it's codec implementation  colour science or what, but I usually enjoy it most of all DSLRs still when I'm "blind tested" with actual footage rather than pixel peeping, as it were, despite the softness and the mandatory 8-bit plastic skin tones. If they'd just stop crippling cameras I would have already bought one or two more of their products... I would have a 6D already if it weren't for the severe aliasing, and the fact that they only made it so bad to try and make me buy the 5D MKiii actually makes me not want to buy that model because it's such a manipulative tactic.

Would you mind showing an image of or writing a bit about your grade process? I've never used nuke and the look of this piece is quite intriguing! Is it a modular environment?

I was watching that but didn't go for it. Just didn't know enough about it.

I'm betting clean 4:2:0 output wrapped in 4:2:2 and a few bug tweaks...   Call me a skeptic 

markm: you're evidently worked up, and i appreciate your passion, though you do come across a little patronising here. I'm no fool, in fact i'm rather well read in politics and economics.   I don't believe single-party systems are inherently bad, nor do I believe universal voting rights in a capital-driven system to be necessarily good. The fact that a group of millionaires from the same university class were able to convince the UK to vote for them using huge amounts of money is proof enough for me that multi-party democracy isn't an automatic pass card to great freedoms and a wonderful society!   I also believe Marxist systems can work, and indeed are the only forward for a peaceful world. In China, the middle way is in effect. It is an interesting evolution of the dialectic in economic and social terms, and it's exciting to see things pan out. Their economy is certainly booming.   The idea that I'm giving up freedom and democracy by not handing political power over to a party I mistrust is absurd. I'm excercising the very right by not voting for them.   When they start talking about a roadmap for renationalising health, education, transport, gas, electricity, water, post, banking, and other essential services they may start to interest me. At the moment there are huge holes in their manifesto surrounding such vital issues. The so-called manifestos are wishy washy at best, simply empty sentences at their worst.   I agree with tight border control, but only because huge numbers of unskilled workers flowing over borders only serves to create an international underclass and helps no one but the ruling elite. A properly-run communist system not only solidifies national identity, it also ensures a consistant quality of life and removes the possibility of excessive profit, exploitation, nepotism and greed. We've yet to see one so far in the world, but we will eventually, and like to see it in the UK. I don't think UKIP share this belief, thus I wont vote for them.   So yes, I could be classed as an extremist too, but I believe a preoccupation with equality, co-operation and eliminating corruption to be a good extreme, quite the opposite to your fear mongering.   Now I do love political debate, but this really has gone a bit far don't you think, for a Tarantino thread?     Anyway, take the last word my good man, and I'll leave you with this wonderful piece of Wiki in glorious Comic Sans:   Godwin's law (also known as Godwin's Rule of Nazi Analogies or Godwin's Law of Nazi Analogies[1][2]) is an observation made by Mike Godwin in 1990[2] that has become an Internet adage. It states: "As an online discussion grows longer, the probability of a comparison involving Nazis or Hitler approaches 1."[2][3] In other words, Godwin observed that, given enough time, in any online discussion—regardless of topic or scope—someone inevitably makes a comparison to Hitler or the Nazis.