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 wrote:
The lowend Alexa shoots 12 bit Prores
444 on the SxS cards in LogC. Though for whatever
reason tv shows always seem to shoot it in 422 mode.
I'm not sure if it's out of habit or they are
trying to get more time on each SxS card? I always
ask the vfx house why and they shrug their shoulders
and say they couldn't sway production to do it
differently. I would just try to push production to
shot prores 444 instead of getting another device.
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