Creating and reviewing cost effective film and video solutions
Matching Sony A7Rii to Canon C300
First disclaimer: This isn’t a perfect match. It’s almost impossible to match two cameras from two different manufacturers out of the camera. You can get close sometimes. You have to finesse in post with a grading solution. Even then, it isn’t always a perfect match.
I could opine about the A7Rii and pixel peep. I could talk about the crop versus full frame in 4k. Pixel binning. EF adaptors. ISO comparison versus the A7S. But everyone else has done that. Can it shoot in heat and harsh conditions? That’s what I want to know.
Award-winning documentary produced in SD is dusted off for a special re-release on national TV.
How to move SD BetaSP to the HD age? Blackmagic of course.
I steampunked my MacBookPro
I love my 17-inch, early 2011 MacBook Pro. Great machine. Quick, quiet and just generally beautiful. On a remote edit job in Chicago this summer, I learned how versatile and powerful this thing was as I slammed a ton of video together in FCP.
We produce two TV shows for the Pursuit network. Our SOP has been to take everything provided by the field producers, compress it to ProResLT 1920 x 2080 29.97, drop it into FCP and roll. Encoding everything to a single format prior to editing turned out to be a critical step because it eliminated a lot of rendering, temporal and spatial goofiness and just made FCP 7 work a lot better.
When we dropped in our gigabit ethernet SAN system before Christmas, we were amazed at how seamless we could have multiple FCP editors working with the same footage. It just worked.
Except when some one was heavily saturating the network by rendering or coping large files to the SAN. Then it felt like a rerun of Max Headroom with stuttering and dropped frames to the Flanders monitor.