Thanks guys,
yep, it shoots to MXF OP1a, so it still requires a re-wrap to OPAtom on import but pretty good. The grade will be a simple Symphony job, I think it's a bit of a case of making a mountain out of a mole hill and wanting to use fancy cameras for a job which maybe doesn't require it but that's not up to me. My main question was really what happens quality-wise in the process of going from 4444 to 422, I always figured it was better to avoid any form of transcoding and try and stay native throughout. I can't imagine that much difference when it's just going on tv but I'd be happy to be given a reason why it makes more sense to shoot 4444.
Cheers,
Andi
CC: Avid-L2@yahoogroups.com
To: Avid-L2@yahoogroups.com
From: owen@thenowcorporation.com
Date: Wed, 27 Jun 2012 08:47:49 -0400
Subject: Re: [Avid-L2] ProRes 4444 to DNxHD185X...
Alexa does shoot DNXHD mxf. and
we have taken the files to sessions and cc'd the files in Resolve at company 3 in nyc.
Owen's iphone
On Jun 27, 2012, at 5:40 AM, Tina Hedegaard <hedegaardforum@me.com> wrote:
> Hello Andi
>
> I don't think that Alexa can shoot DNX .mxf - I think it is DNX .mov.
> I think you should consider how you are gonna grade it - if it is through DaVinci Resolve, then I would recommend Prores 4444, because Resolve doesn't support DNX.mov - only DNX.mxf.
>
> A good program to encode is Alexic - it can make all kind of DNX. mxf, it adds a lut and keeps reel and timecode.
>
>
> Cheers
>
> Tina Hedegaard
> Editor | Assisting Editor
> Avid 5.5.3-6.0.1.1 | FCP 7
> Mac os x
>
> On Jun 27, 2012, at 2:15 AM, Job ter Burg (L2B) wrote:
>
>> You may also consider rendering ProRes to 10bit MXF DNxHD using (free) DaVinci Resolve Lite.
>>
>>
>
>
>
> [Non-text portions of this message have been removed]
>
>
>
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>
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> Yahoo! Groups Links
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>
>
>
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