Bitrates. Where do you draw the line?

[Django]

3 hours ago, kye said:

I was really just comparing 2K Prores HQ to 4K Prores LT.

If we're talking about anything more than that, then we have to start talking about what is visible, and that means discussing a certain resolution test that makes sensible discussion basically impossible.

That's the thing, you kept referencing the silver screen and cinema standards so I just thought I'd give further context..

Its like HDR.. I feel it makes much better sense on a device used in daylight than in a dark room. Different medium, different tech and workflows make more/better sense. Context is everything.

 

[IronFilm]

13 hours ago, Django said:

On a similar tangent, I also think open-gate has never been so useful. Traditionally for anamorphic shoot but today also serves the purpose of multi-aspect ratio deliveries which is becoming pretty common.

The Sound Dept meanwhile secretly hopes that there will not be even one more future camera released with the ability to do the evils of open gate shooting. 

 

[Django]

On 10/26/2022 at 11:13 PM, IronFilm said:

The Sound Dept meanwhile secretly hopes that there will not be even one more future camera released with the ability to do the evils of open gate shooting. 

 

I' hadn't thought about that! I see how sound guys must hate open gate, often a tough enough battle when shooting 16:9!

[kye]

On 10/27/2022 at 5:13 AM, IronFilm said:

The Sound Dept meanwhile secretly hopes that there will not be even one more future camera released with the ability to do the evils of open gate shooting. 

Is there an arms race in the microphone world to make microphones more and more directional?

That would be the natural response to having to put the mic further away from the talent, and it's something that would be easily marketable as a single number...  which is how manufactures get people to replace their perfectly good equipment with newer, marginally better, models.

[markr041]

 

This is about bitrates, right?

Well, when might one need 12bit color and high resolution (8KDCI) and no compression = high bitrates?

Capturing Fall colors in sunlight!

You want to capture all those colors (12bit); you need to shoot the details of leaves blowing in the wind, so long GOP compression, which tries to track differences in subject's position, are really stressed; and there are lots of details. And, in Fall sun, highlighted backlit colors and deep shadows need to be caught without blowouts and without crushing. So you want to produce HDR videos, which at a minimum require 10bit color.

So, where do I draw the line - 2600 Mbps = Canon CRAW (R5) 8KDCI.

Watching in HDR is a treat! But not cinematic.

Computer disk space for storage is cheap; fast disks for real-time editing not so much. My MacBook Pro eats RAW for lunch using DaVinci Resolve Studio.

And, no, in a few hours of shooting the camera did not overheat, but it did run down the batteries fast (batteries are cheap). Cfast cards are not cheap. I used up 500 GB's of Cfast storage in shooting these two videos and exhausted about 1.25 batteries.

[IronFilm]

20 hours ago, Django said:

I' hadn't thought about that! I see how sound guys must hate open gate, often a tough enough battle when shooting 16:9!

Yeah those social media shoots where they're doing ALL THE ASPECT RATIOS at once (4:3 / 1:1 / 9:16 / 16:9 / etc) in the same shot are when I find myself unable to be tall enough to boom from out of frame, even with all my 6'3" / 1.9m worth of height, and I have to steal an apple box to boom from. 

16 hours ago, kye said:

Is there an arms race in the microphone world to make microphones more and more directional?

Nope. Quite the opposite in fact. Microphones such as the Sennheiser MKH816 ceased to be very popular decades ago. 

(still, that's one of the reasons the Sanken CS3e and CS1e are two of my favorite microphones)

16 hours ago, kye said:

That would be the natural response to having to put the mic further away from the talent

Nah, the response instead has been to just make everything sound like a reality tv show instead. 

You get a lav! You get a lav! You get a lav! Everyone gets a lav! 

[kye]

42 minutes ago, IronFilm said:

Yeah those social media shoots where they're doing ALL THE ASPECT RATIOS at once (4:3 / 1:1 / 9:16 / 16:9 / etc) in the same shot are when I find myself unable to be tall enough to boom from out of frame, even with all my 6'3" / 1.9m worth of height, and I have to steal an apple box to boom from. 

Nope. Quite the opposite in fact. Microphones such as the Sennheiser MKH816 ceased to be very popular decades ago. 

(still, that's one of the reasons the Sanken CS3e and CS1e are two of my favorite microphones)

Nah, the response instead has been to just make everything sound like a reality tv show instead. 

You get a lav! You get a lav! You get a lav! Everyone gets a lav! 

How strange..  

I remember shooting on the top of a hill right next to a large city and the boom op using a very directional mic to aim at the talent (only having to capture one person talking per setup) and essentially 'thread the needle' because on either side of many of the setups were noises like lawn-mowers, motor boats, etc.  The audio was by far the biggest challenge for the shoot and was what caused the most time during filming.  We even had to alternate between aiming up vs aiming down due to the odd helicopter that was flying by.  The width of the pickup pattern saved the audio on that shoot, giving us only a few shots that we had to ADR.

[IronFilm]

Of course shotguns are always being boomed when outdoors, but the big and heavy hyperdirectional shotguns such as the MKH816/MKH70/KMR82/etc are no longer so popular in the 21st century (unlike beforehand, when radio mics were rarer). 

[jemievardy]

With the relatively cheap costs of SSDs shooting 12bit 4k on the Sigma FP is doable. Still long term storage becomes a pain the more data you rack up. Maybe I just need a better archiving system.