feature film ex1 blackmagic componant capture prores 422 or prores 442 hq

[Olof Ekbergh]

Why not just rent or buy a NanoFlash.

It is so much easier to deal with. A lot less wire and no computer to worry about.

I used to capture to my AJA KONA SDI in the studio, now I use the NanoFlash, a fantastic product.

And you can use it on location so easily.

You could buy it for the production, and then sell it when you are done. I bet someone involved with the production would buy it.

[Michael Maier]

Originally Posted by Alister Chapman

HQ is 220 Mb/s and SQ is 147 Mb/s. They are both labelled as "visually lossless" which IMO means you cannot see any degradation with the naked eye. This is not the same as a true lossless codec. While the codecs are both good, I'm not convinced that an I frame only 10 bit 422 1920 x 1080 codec running at only 147 Mb/s is really suitable as a mastering codec for high end productions. It certainly has a place for corporate or web delivery but you will get some image degradation over multiple generations.

Alister, do you think it's worth it to even going higher than HQ and capturing the 10 bit 422 HD SDI of the EX1 to ProRes 444? Would you see any gains over HQ?

Also, what about Cineform? I'm not sure if it's visual lossless or true lossless but I have heard since it's wavelet it's more robust than ProRes. Question is if it's worth for somebody cutting on FCP since ProRes would be just much more handy. Thanks Alister.