Steve Rosen
January 25th, 2016, 01:15 PM
I've been experimenting with the relatively new 2K option for a series of TV spots I've got coming up. I'm choosing 2K to (hopefully) intercut better with my Black Magic Pocket cameras, which record in ProRes 422 HQ 10 bit. I have some questions because - typical of JVC - there is virtually NO documentation on this option.
One of two options when choosing 2K is 422 - UHD doesn't have this ability. Is this truly a 422 color space?
Why, when setting to 2k, is the time left on cards identical to shooting in 1080p? One reason might be it's locked at 23.97 (or 24fps) and I've been shooting 30p in HD - and they're both 50mbps - but still it seems odd.
In 2K the VSM Prime Zoom feature acts identically to when shooting in HD. Does that mean 2K is mapping a significantly smaller area of the sensor than 2K?
My visual tests - which admittedly lack any scientific control - are quite good, stunning actually - noticeably better than 1080 in some situations. When laid into a ProResHQ timeline there is a small letterbox, which is fine because I'm letterboxing the spots anyway, but it also seems the 8 bit image grades more easily, more like the Pocket's ProRes.
Has anyone else (like Steve Mullen) experimented with this setting? And if so, have you found any pitfalls?
One of two options when choosing 2K is 422 - UHD doesn't have this ability. Is this truly a 422 color space?
Why, when setting to 2k, is the time left on cards identical to shooting in 1080p? One reason might be it's locked at 23.97 (or 24fps) and I've been shooting 30p in HD - and they're both 50mbps - but still it seems odd.
In 2K the VSM Prime Zoom feature acts identically to when shooting in HD. Does that mean 2K is mapping a significantly smaller area of the sensor than 2K?
My visual tests - which admittedly lack any scientific control - are quite good, stunning actually - noticeably better than 1080 in some situations. When laid into a ProResHQ timeline there is a small letterbox, which is fine because I'm letterboxing the spots anyway, but it also seems the 8 bit image grades more easily, more like the Pocket's ProRes.
Has anyone else (like Steve Mullen) experimented with this setting? And if so, have you found any pitfalls?