Nice orginizational thoughts! Thanks! You state that you and the team want to "maximize the color information throughout the editing process". I'm a bit confused about this. Why would you really care about color info during edit if you will be grading in resolve while referencing the original r3d files. You could edit with 360p shit proxies and still be fine. Also, as color 'information' is important in your process, how do you suggest setting up resolve color management to properly handle the raw capabilities and dynamic range of red cameras? Out of the box resolve is set up to handle arri and needs to be tweaked depending on which red IPP you are using. It feels great to know you shot raw but if you screw up the grade all that precious information is pretty useless.. just curious on more specifics..
"Engadget reported" "Engadget noted" "Engadget continues".... I miss when NFS had a perspective and opinion on subjects like this. Presumably the writers at NFS have more technical knowledge and experience than Engadget reporters? Or at least enough reporting prowess to also report an alternate view on the subject? - Maybe continue the Chris Nolan theme and articulate now be sticks with shooting to film while still implementing flawless vfx elements in his films.
This article, and specifically the questions asked, barely scratched the surface on how to execute successful timelapses. For example, from my experience the largest obstacle for obtaining "wonderous" timelapses, from a technical angle, is FLICKER. It is the bane of any timelapser's existence. And slapping on a 'delflicker' plugin often won't do the trick. (Check our LRTimelapse tutorials for advanced help). Also, what are the different shooting options for capturing day to night - or night to day timelapses? There are multiple ways to do this.. No mention in this article. Shooting a timelapse of a building for half hour during mid-day with blue sky and clouds is easy because of consistent light, right? Well, no - as clouds pass over the exposure values change dramatically - how do you deal with that during the shoot, and in post? Modern lenses with electronics add micro exposure adjustments.. Etc etc...if NFS is going to write an article with such a promising and grand title, give a little more substance and in-depth information. If anyone wants good crash courses on how to shoot wonderous timelapses in different situations check out Preston Kanak articles and tuts. They are a good jumping off point.
casey's mom has got it going on...