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I just came back from a shoot where I did just that - insist on 2k
4444 compression. We were meant to shoot 3k raw but since production
failed to secure a T-Link, 2k prores 4444 was the next best thing I
could ask for. I told them 422 would be unacceptable for vfx,
especially for keying. >>I always ask the vfx house why and they shrug their shoulders The only "problem" on set is simply the increased data rate, hence the need to swap ou the card a little more more often and require more disc space (and a little bit of more time) for the data wrangler to manage backups etc. I can see this as an argument for drama only shots when you try to decide between 2k and 4k raw, but in I would never take this as an excuse to shoot 422 footage for vfx use. I'd rather not take the job. The more severe reason for this is usually simply lack of knowledge on the production side and lack of communication up front to establish the required camera settings before it's too late. It's a good idea to have the camera's spec sheet handy and refer to that before the shoot to avoid any misconceptions. Sorry if this sounds a bit smart-arsy, but since I just had that very scenario last week I thought I'd chime in. Cheers, frank On 3/30/14, 1:23 PM, Deke Kincaid
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