The difference is a tiny bit of width, 3840 vs. 4096. That's it. All the other differences between 4K and HD are unrelated to the resolution. You do need to be concerned with color space et al, but resolution is an independent characteristic.
My choice has been to shoot Cinema 4K when possible even though our deliverables are 16x9, because it gives a bit more framing flexibility. Not much, but more is more. It is potentially a bit more work depending on how you handle the side crop to 16x9. Frankly, I can't speak to the best workflow in Avid at the moment. Version 8.5 demo in two weeks!
Cheers,
tod
On Mar 18, 2016, at 9:16 PM, John Moore bigfish@pacbell.net [Avid-L2] <Avid-L2@yahoogroups.com> wrote:Heading into the uncharted 4K world on a project. I had asked that they shoot UHD, quad HD, and not 4K figuring that would eliminate one issue of aspect ratio as we will be delivering 4K and HD versions of the show. I can't see any real reason to shoot 4K over UHD for a stage show multicamera shoot but I am new to 4K post so perhaps I'm just gun shy. Also given we have no 4K infrastructure on our avid systems my plan is to work with regular HD and color correct there and once everything is locked down then finally relink to the 4K camera sources and output the 4K, hopefully UHD, file.I'm curious about what people are doing to handle the discrepancy between 4K aspect ratio and r egular 16x9. Having not worked in this world I haven't had much interaction with Frame Flex etc... What would be a suggested 4K workflow with real 4K material to also output standard HD. Does the HD get cropped/scaled? Given an HD and 4K delivery doesn't it make sense, as I've suggested to production, to shoot UHD instead of the true 4K?My research has indicated that Rec 709 is an acceptable color space in the 4K UHD world hence my plan to work in HD assuming the color will translate accordingly. Does anybody know if the Rec 709 is viable in both UHD and true 4K?John Moore Barking Trout Productions Studio City, CA bigfish@pacbell.net
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