The Future is coming...

[Brian Drysdale]

Indeed, but changing the camera position for each shot does and just enlarging the image can become lazy if used to excess (like many of these things). A small change in post is fine, but just leaving the camera locked off and getting all the framing sizes in post perhaps isn't the most inspired means of covering a scene.

Using different focal lengths also adds to how you cover a scene.

[R Geoff Baker]

There are better ways than 'doing it in post' but in my thirty years as a director, sometimes I'm conducting an interview without benefit of a cameraman. I could have course refuse such commissions, or not do such projects, but in the interest of getting it done, I sometimes make do. So locked off cameras are not unknown ... And post gives you all the options of panning, tilting and zooming exactly as you could do with camera on a tripod, once cameras with 'better than HD' output are available.

Cheers,
GB

[Eric Olson]

Originally Posted by Brian Drysdale

Indeed, but changing the camera position for each shot does and just enlarging the image can become lazy if used to excess (like many of these things).

I like the idea of slow-motion replay with digital zoom that preserves quality. Such footage would also be useful when creating a highlights reel to showcase a particular player.

[Brian Drysdale]

This using it for an effect, rather than general coverage. Although, if you're shooting with a high frame rate (for slow motion) and high resolution, this could add up to a lot of data.

[Steve Mullen]

I've used QuadHD (4K) sample ProRes LT from the JVC HMQ10 in FCP X. During import, ProRes proxy is automatically generated.

I'm also experimenting with 2K 12-bit, 4:4:4 RAW DNG footage. Import into AE, make a one-light setting, export as ProRes 4444 (no alpha), import into FCP X where during import ProRes proxy is automatically generated. While the DNG footage is huge, the PR 4444 is not.

Editing speed is fantastic since one is dealing with PR Proxy.

In both cases, the Ken Burns FX works very nicely to create a 1920x1080 movie.

My experience is that 4K and 2K are not very different once you have your workflow understood. Turns out FCP X works well since it has 4K and 2K settings.

[Joe Ogiba]

"It records in H.264 MP4s at roughly 48mbits per second. That’s not very high for four times the resolution of HD. It needs to be a much less compressed recording or ideally a newer, stronger, more efficient and 4K centric codec. H264 is not really it.

I recorded in 30p. There may well be a 25p or 24p option. I didn’t have time to look for it. Doesn’t matter though, as I shot 30p and brought it into the computer via the rather lovely full size USB 3 port at the bottom of the phone, and then converted to ProRes HQ with MPEG Streamclip and then conformed to 23.98p in Cinema Tools, giving me a slightly stronger image and slightly slower but now much nice filmic movement. I really like 30p recording slowed to 24p or 25p. It’s a lovely “not slow motion but not normal motion” look."

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