- Minimum video card for editing 4k video in final cut pro x with mac pro 2,1 full#
- Minimum video card for editing 4k video in final cut pro x with mac pro 2,1 software#
adjustments aren't always particularly polishedįor instance in Final Cut Pro these options, when available, are simple pull-downs in the 'Info' tab, rather than full tools in the video or color inspector tabs. Not all cameras appear to communicate enough information in their data streams, meaning the Raw adjustment controls for white balance and brightness ('ISO') are not available for some cameras. In the case of ProRes RAW, the tools available to make these adjustments aren't always particularly polished, despite Apple controlling both the format and Final Cut Pro.
Minimum video card for editing 4k video in final cut pro x with mac pro 2,1 software#
2) The software support isn't especially polishedīeyond gaining finer control over the processing applied to your footage, perhaps the two strongest reasons for wanting to shoot Raw are that it should give you greater flexibility over tonal adjustments (ability to brighten footage, adjust curves and exploit dynamic range) and the ability to make big white balance adjustments without detrimental impact on the footage.Įven when they're available, the Raw adjustment tools in Final Cut Pro are limited and duplicate the function (though not effect) of existing tools elsewhere in the interface. Then there's the need to reduce and mask any moiré in the footage: something your camera is likely to be doing pretty well without you realizing it. You'll need to find a sharpening and noise reduction strategy that suits your camera's output, which is likely to require a fair degree of experimentation with different settings and plugins, if you want results that look as clean or sharp as the camera's own compressed footage. Once downsized, there's still a lot of work to be done. When you look at a Raw video file, you'll immediately see how much processing your camera usually does It also results in noisier footage, because it's not using all the available pixels. Unfortunately, this pixel skipping reduces resolution and introduces moiré, compared with the in-camera 5.9K-derived footage. The Nikon Z6 instead sub-samples its sensor, in order to output an unprocessed UHD signal. For a start, the video is likely to need some re-sizing: both the Panasonic S-series cameras and Sony's a7S III output roughly 16:9 regions taken from the full width of their sensors, meaning 5.9K or 4.2K, respectively. The first time you look at a Raw video file, the first thing you're likely to notice is how much processing your camera usually does when creating video. 1) There's a lot of extra work to be done But many of the points are applicable to other formats, to a greater or lesser degree.
We're going to focus on ProRes RAW in this article, since its adoption by Atomos means it's the Raw video format available to the widest number of camera models, at present. So, before you add it to your must-have list of features for your next camera (or your list of camera features for brand-loyal point-scoring arguments in the comments), let's look at why you might not want to dive into Raw shooting just yet. Atomos has licensed Apple's ProRes RAW format and BlackMagic Design has created its own BRaw format, both of which allow their external recorders to encode the Raw output streams from a variety of popular cameras.
But for non-pro work, it's much more likely that you'll encounter CinemaDNG, ProRes RAW or BRaw.Īdobe's CinemaDNG is an open system based on its stills DNG format, offered natively on the Sigma fp and some external recorders. RED and ARRI use their own Raw formats, currently only offered on their own cameras. There are multiple types of Raw available and the experience of using each will differ somewhat, but the underlying benefits are broadly similar.
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