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I thought we were talking about raw video on the 5D MK III?

I'm curious why you say that...I remember seeing the rolling shutter test in Zacuto's test and film was nearly indistinguishable from the cameras with a global shutter. (Granted, the Zacuto test is a...

He said the Epic was mostly used for steadicam shots (the other use being for plate shots). He's correct....

My guess is it buffers like the digital Bolex...?

Thanks, that answered my question.

You're telling me it doesn't take more time to work around rolling shutter?

How does a different workflow fix rolling shutter artifacts that mess up tracking and comping for VFX?

Just to be clear, the issue here is Apple's poor support of Quicktime in Windows. Premiere can only run as fast as Quicktime delivers frames to it. In any case, if you want to render stuff that shows...

Have you tried doing a RAM preview in After Effects? If it's an issue with Premiere, it should look smooth in After Effects.

Hey David! You should also check out a noise reduction plug-in called Neat Video...it does a wonderful job cleaning up noise and leaving real detail alone. It really saved some recent underexposed...

Yeah but YouTube and Vimeo always re-encode, so compatibility isn't an issue. It's always best to maximize quality to reduce the effect of generational loss.

You should export to an uncompressed format (the sequence previews just use some kind mpeg codec...it's only meant for preview purposes). You can probably just do Quicktime uncompressed 10-bit 4:2:2...

Is it just a performance issue? If you rendered an uncompressed file out of AE then your hard drive might not be fast enough to read it in real-time. Try rendering your sequence and see if it's still...

You're right, I got my profiles mixed up.

A 2-pass encode means it runs through the sequence twice...so at 50% it has run through the entire sequence and is now beginning to run through it a second time. If you're rendering and encoding at...

That's because you're trying to render at 60p and ~1080p resolution which isn't allowed in the level 5.1 H264 spec.

If you use AME to encode H264 for YouTube, you should just select the highest...

Don't render and encode at the same time! Especially if you're doing H264 VBR 2-pass...each pass is another render, so you're rendering your project twice for no reason. Huge waste of time. You...

If you're exporting a Premiere sequence, then you need to make sure Premiere has control of the card because it's what's actually doing the processing, not AME.

I know, but the Main Concept encoder would always destroy any dithering and noise I left/added in the video, even if I gave it plenty of bitrate to encode that noise.

I don't know about PluralEyes 3, but I've used earlier versions to sync Red footage in Premiere. It couldn't work directly with the R3Ds, but it automatically used AME to export the audio to a format...

I use ffmbc to convert to ProRes, and Handbrake to convert to H264 (Handbrake uses x264). Handbrake does a million times better job than the Main Concept encoder that Adobe ships. I could never get...

That's kind of a bizarre way to look at it...if they had shot in 48 fps on film, they would have had to shoot at 180 degrees or less, but you're saying that would've made it look like video? The way...

How fast the Scarlet's processors are clocked has absolutely nothing to do with the read reset time of the sensor.

That doesn't make any sense though...it would be like saying a monitor's refresh rate is lower because the computer's cpu is clocked slower. It doesn't make any sense.

Well, keep the camera as cool as your can (warmer sensors produce more noise), black shade...and make sure you shoot a solid color for a noise reference...beware of using walls, because if there's...