![]() ![]() Record in the camera’s native color space, instead.ĭepending on the budget, story, or when a small, flexible camera is required, creators might want to incorporate content captured by a mobile phone, like the iPhone 12 as well. Using phones to capture real-life situations also often has the advantage that those being filmed are more likely to act naturally than if a larger camera and recording equipment are being used. This color space should not be used for recording. Some cameras’ default color space is set to Rec.709 or sRGB. No looks, color corrections or other transforms should be baked into the original camera files. Capture FormatĬompressed - XAVC-I, ProRes or other I-Frame only formatsĬamera native color space - S-Gamut3, REDWideGamutRGB, Panasonic V-Gamut, etc. Intra-frame codecs should be preferred over Long-GOP codecs.Īssuming a correct exposure, the following original sources can be considered as minimum requirements for Dolby Vision mastering. Digital camera sources:įor any digital acquisition we recommend using either RAW recording (no de-mosaicing / de-bayering performed in camera), or if not available or applicable using a compressed source format in its lowest available compression and highest quantization (bit depth) using a “log style” OETF (Opto Electrical Transfer Function). While it is possible to stretch the dynamic range of the content in post-production the best results are really defined by the HDR image that is captured in the acquisition phase. The exposure and lighting decisions made on set will determine the level of dynamic range and usable color gamut for a Dolby Vision HDR master. Older-style "trash can" 2012 Mac Pro computers will not be able to use Thunderbolt 3 technology, the new Apple Afterburner card or the most up-to-date AMD graphic cards which are helpful in achieving these huge performance gains.For mastering first run movies in Dolby Vision, the original camera files or original film scans are ideal as modern digital camera systems as well as negative film stock can capture 13+ stops of dynamic range. The RED Rocket-X card (valued at $6,750) is now included, at no cost, with every rental. No matter the camera system, whether ALEXA, Sony Venice, Phantom or RED, the DIT Cart rate will now be standardized between all formats at $650/day. Honda 2000w Generator for location shootsīlackout or Shaded DIT Tent (6’x’6 Blackout, 8’x8’ Blackout or 6’圆’ Shade/Screen available) Industry-leading Silverstack data management software for faster transfers and more robust data report optionsĢ4" Flanders DM250 OLED monitor for reference monitoringįOUR on-cart SmallHD 702 multi-function waveform monitorsįlanders BoxIO LUT devices, allowing live color grading in LiveGrade for multiple cameras at once in real-timeīlackmagic 12x12 Smart Videohub for video distribution on set Resolve Studio 17 software for dailies, optimized to use Apple’s latest METAL graphics APIĮight Thunderbolt 3 ports, functioning at 40Gbps, 8x times the speed of USB 3.0, while remaining backwards compatible with USB-C and USB 3 devices and drives This is HUGE for increasing both data transfer rates and rendering speeds, especially with very large, highly uncompressed formats like Phantom CINE and ARRIRAW (For reference, our old RAID was 500 MB/s and most single external drives are around 150 MB/s) RED Rocket-X accelerator card for RED workflowsģ2TB 8-Bay SSD-based Thunderbolt 3 RAID data storage with speeds up to 2200 MB/s. Intel Xeon W 3.2GHz 16-Core CPU (Up from Intel Xeon X5690 3.46GHz Dual 6-Core CPUs )ĪMD RADEON Pro Vega II Duo 32GB dual GPU card for Davinci Resolve rendering acceleration (Up from an Nvidia Titan BLACK GPU)Īpple Afterburner ProRes accelerator card for ProRes encoding/decoding, increasing renders by 50+ fps in ProRes workflows
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