Also, is there a way to handle s16 better on Vimeo? On the original material, the grain structure doesn't get all blocky as it does on some of the set-ups on the vimeo video clip. I rendered it out of Avid at h.264, with best rendering option and multiple pass setting.
I rendered it out of Avid at h.264, with best rendering option and multiple pass setting.
In a word ...Don't.
Feed the site the highest quality you can, even if that means you have to wait overnight to upload. H.264 is highly compressed even at high bit rates, and is strips out a lot of color information as well. Doesn't matter if *that* file looks good on your computer because Vimeo, Youtube and whoever will recompress it further, to their specs, after you've uploaded it. Think of it is as a photocopy of a photocopy. Generation loss and all that.
Try uploading something like a ProRes 422 file (even regular ProRes 422 should give you an improvement, with a little file size savings over HQ). Also, higher resolution matters here. If you can upload 2k, you get better HD when they recompress it. Same with YouTube.
Edited by Perry Paolantonio, 17 July 2015 - 05:04 PM.
I did, with 1.3x Hawks but due to their availability and cost, we will be shooting s16 and crop 2:35. I own the camera and the lenses - so no rental involved. Ironically, I enjoy shooting on the NPR. It is a highly modified camera with a hard front PL mount and a new Barney. The Groundglass is etched for 1:66, 1:85 and 2:35 by Visual Products along with full servicing of it. As you can see, the camera is rock steady - I guess you be the judge. Then again, those shots weren't locked off shots so it's harder to judge the camera's steadiness.
Camera looks great. Does the NPR have a registration pin?
Are the Hawks that hard to find in LA? I want to shoot with them, but if they're hard/expensive to find, that maybe a deal killer. Might have to go with 1:66 which I'm OK with, just leave a bit of head room for 1.75:1 16x9 release.
Cool, Keslow does huh. It would be interesting to shoot with those for sure. I'll give Keslow a call I suppose. By the way, Perry, thanks for the advice on compression settings etc. I honestly did not even know you could upload anything other than h.264 to Vimeo. One other conclusion I reached during this test was that Optar and my Cooke 5:1 have a similar look, which is good in terms of intercutting the two together.
Rad. Yeah, the same goes for uploading to Youtube as well. And youtube allows resolutions up to 4k, which gives even higher bitrates, if you feel like uprezzing (but that would increase your file sizes and upload times significantly).
I've got a super16 eclair acl with arri b, pl, and cameflex mounts. Let me know if you ever want to get together and eclair it up around LA.