![]() One major frustration with the X-H2S is that you don’t get real Timecode input. The other big perk with the Video Assist is Timecode input. RAW footage is just a whole different beast in post. Media is affordable (the prices on T7 drives are ridiculous these days), the files are small, and yet we got the benefits of post flexibility, amazing color science, and superb autofocus. If Blackmagic RAW isn't a part of your workflow, you could always opt for an Atomos recorder and get ProRes RAW instead. The variable compression options alone make it an attractive RAW competitor. Further still, Blackmagic RAW and DaVinci Resolve are integrated so tightly together that, for now, it makes the most sense to use Resolve for your entire pipeline. But in the end, we're still going to color in Resolve. We use Blackmagic RAW because it's compatible no matter where we edit (Premiere, FCPX, or Avid). This all fit within a single 4TB Samsung T7 drive that we plugged straight into the Blackmagic Video Assist. Over five days of shooting, we shot more than 30 separate multi-camera interviews, shooting hours and hours of footage. Blackmagic RAW files are a good bit smaller than ProRes files. At the very least, it's definitely worth keeping on your radar if you don't yet have a dedicated NLE.īut it’s more than that. Much like BMD with DaVinci Resolve, VEGAS Pro seems to be diligently building a robust suite that creatives can rely on. This is especially true if you're roundtripping to Resolve for color. If you’re a VEGAS Pro user, this update is part of an ongoing development of features to help streamline your workflow further. Further workflow efficiencies like a normalize button for events.Enhanced Audio Workflow support with VST3 support and more. ![]()
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