Thread: Record 4K ProRes w/Embedded Color Profile?

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  1. #11  
    Quote Originally Posted by Andrew R Lewis View Post
    Sigh..

    Very helpful.
    It can be helpful.
    Your question was already answered.
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  2. #12  
    Either there isn't enough internal processing to make this happen in camera at 4K or there isn't a fast enough data rate on the redmag (300 MBS) to record it... or both. Either way, not possible at this time.
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  3. #13  
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    I have the reason.... Because it would be a hell of a lot cheaper monetarily and would less intensive/expensive from a data standpoint to record externally via HDMI on an Atomos or Odyssey SSD's in 4k Pro-Res. My belief is this is why we still are not seeing SDI/HDMI 4k out and 4K internal Pro-Res. Think about the cost of Red-Mag's and you have your answer.
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  4. #14  
    Senior Member Jarek Zabczynski's Avatar
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    Trust me, Red wanting to sell more Redmags is not the reason. Just no.
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  5. #15  
    Senior Member Anthony Berenato Jr's Avatar
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    Quote Originally Posted by Andrew R Lewis View Post
    Sigh..

    Very helpful.

    Hrvoje Simic, is there a way to record 4k ProRes with embedded Rec 709 with highlight rolloff options found in the IPP2 pipeline? Ya know, cuz you can do that in 2k ProRes.

    Thanks to all who understood what I was asking and contributed.

    And Jonathan, after testing a bunch I think its a solid no. Would be nice but data limitations seem to be the issue. No biggie, I'll take it.
    No, the best you can do is change back to Legacy and apply a slight curve to the highlights. Then you can record 4K ProRes with the color burned in... but it’s not going to be the same as IPP2.
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  6. #16  
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    Kind of moot anyway to use 4k prores as the fastest record speed is 30fps. Also, if you record in IPP2 it is easy to add everything in post, and you can still monitor with a LUT during record. For what it is worth 2k 4444 is amazing from an 8k source, no noise, all the options, and for fast turn around is fantastic. It also doesn't use up much memory. For anything more, record raw.
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  7. #17  
    Senior Member Andrew R Lewis's Avatar
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    Quote Originally Posted by Jon Dishler View Post
    Kind of moot anyway to use 4k prores as the fastest record speed is 30fps. Also, if you record in IPP2 it is easy to add everything in post, and you can still monitor with a LUT during record. For what it is worth 2k 4444 is amazing from an 8k source, no noise, all the options, and for fast turn around is fantastic. It also doesn't use up much memory. For anything more, record raw.
    I actually really like this idea. But more clients are now wanting 4k at a minimum even for a 1080 export. Its not a big deal to add the IPP2 LUT in post, just curious if it can be done in camera. And clearly as of now it's not. All good.
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  8. #18  
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    Quote Originally Posted by Andrew R Lewis View Post
    But more clients are now wanting 4k at a minimum even for a 1080 export.
    May you should get yourself an extra camera for the ProRes only clients, they sell for as low as $6000 with ProRes whatever in 4k upto 60 fps.
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  9. #19  
    Senior Member Andrew R Lewis's Avatar
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    Quote Originally Posted by Misha Engel View Post
    May you should get yourself an extra camera for the ProRes only clients, they sell for as low as $6000 with ProRes whatever in 4k upto 60 fps.
    Good suggestion but they want 4k shot on Red. I just don't need another camera, I can use the one I have. I add the IPP2 LUTs in a LUT folder with the deliverables as well as a text file for the editor with notes and instructions, just in case. It's literally never been a problem. I can live with the way it is.
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  10. #20  
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    Quote Originally Posted by Andrew R Lewis View Post
    Good suggestion but they want 4k shot on Red. I just don't need another camera, I can use the one I have. I add the IPP2 LUTs in a LUT folder with the deliverables as well as a text file for the editor with notes and instructions, just in case. It's literally never been a problem. I can live with the way it is.
    You can always shoot .R3D in whatever amount of k's and convert it to ProRes on a computer.

    When we have clients who demand a certain codec, we shoot in BRAW Q0 (or .R3D) and just convert it on a computer to the desired codec.
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