Massive Storage Need for Video Project
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@thanksajdotcom said:
I'd be willing to bet YouTube compresses it heavily.
Obviously, down to 50Mb/s. We're converting specifically for YouTube 4K streaming so that the transcoding artifacts are minimal.
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@Breffni-Potter said:
I'm guessing you have the Hero? Might be wrong.
Hero4 Black, yes. Only GoPro with 4K. No ideal, but the images are great and it's 4K at a low price point. We are doing travel videos so the wide field limitation is not as bad as it could be. Gotta get past a proving point before investing in more robust gear.
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@scottalanmiller Wellll....does it?
Just for fun, I took the same great footage, made one a standard def DVD and one a h264 30 meg per second video.
Then using a switcher, did A/B test with both playing at the same time and asked people to "Spot the difference" between them. Apparently they were both the same.
I would say that the quality of the playback device (TV/IPad/PC) will have a bigger impact on it.
@scottalanmiller said:
We are doing travel videos so the wide field limitation is not as bad as it could be.
I was worried you were attempting corporate talking heads or interview style, for travel I guess it's alright.
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@Dashrender said:
@scottalanmiller said:
@Dashrender said:
Why do you need RAW 4K for production? Why not record in RAW HD?
Because HD is far too low. We WANT to be recording in 8K so that we can compress down to 4K. But that's not a reasonable option.
WHY? what are you hoping to gain by running it at 4K for the production? Heck most theaters don't even have those projectors.
They actually are. There was Digital 4k Projectors or lights out required by major productions a few years back. This allows them to both ensure quality. and ensure theaters stay complaint as many were showing unlicensed show times. Now they get a hard drive that is encrypted to plug into their projector. They have to login to the website and generate a one time password that they can only get a few mins before the movie is set to start. The this code can only be used one and thus stops the illegal showings.
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@scottalanmiller It's probably my brain but the shimmer the camera gives off when you judder it up or down ever so slightly is really distracting. Even at standard def.
I'll borrow a black magic and do some test footage so you can compare.
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@Breffni-Potter said:
Apple Pro-res 4:4:2:2 should give the editor a huge amount of grading scope without breaking the storage bank.
Pro-Res 4:2:2 is consider a intermediate codec, not something you really want to make deliverable out of. You want 4:4:4 color space at least. Raw is preferred. Pro-res is meant to make editing easier on your computer by using less data to edit and then re-linking to the source media for output.
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@scottalanmiller I can see some rolling shutter in that video.
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@thecreativeone91 said:
Pro-Res 4:2:2 is consider a intermediate codec, not something you really want to make deliverable out of. You want 4:4:4 color space at least. Raw is preferred.
Still looks good though, if it's a toss-up between shoot it or not, then use 4:2:2. - Very few actually go to the time and painstaking effort of properly grading their work anyway.
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So far, Amazon Cloud Storage is working out! Getting data uploaded faster than it is created, which is pretty much all that I need. Getting everything protected AND able to be shared. Total win.
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@Breffni-Potter said:
Still looks good though, if it's a toss-up between shoot it or not, then use 4:2:2. - Very few actually go to the time and painstaking effort of properly grading their work anyway.
Any professional will use LUTs and do the edit then during the post process it gets send to a color house to do the final color work. Coloring is just like special effects they are done by facilities that specialize in that and only do that.
