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SquareDog posted:Here is my newest cinematography reel, I've posted it in a couple other places already this past week so maybe you've seen it already. Let me know what you think. It's cut better than most cinematography reels I see. For the variance of shots it's a bit long, all though it's cut well enough to keep my interest. On almost everything but the Bjork video your black levels are about 10 IREs too high. Great reel man, I'm impressed.
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Aug 11, 2009 01:11
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AIIAZNSK8ER posted:It does not accept external mics. I'd assume it takes audio input from a 2.5mm headphone jack. Get a mixer and some adapters.
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Aug 12, 2009 18:55
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The Affair posted:It's especially bad when a client is really partial to their own font. Fighting over which variation of Helvetica to use? Many sleepless nights over here. Seriously, gently caress serifs and 99% of all typefaces.
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Sep 10, 2009 17:48
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dr_rat posted:words The XHA1 is a decent little camera, it's really no different than a GL1 or 2 if you're familiar with those. The controls are basically all on the side of the camera, you shouldn't have to hunt through menus for anything. I'd shoot the interviews at 1080 60i. HDV gets a little weird but that seems to be the most flexible way of shooting.
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Sep 13, 2009 20:31
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Filmy Filmmakers was great... but it's hard to imagine that it would be suddenly popular if brought back. Let's try and keep a thread going first. I'm doing contract work for a heavy metal act and a lot of free work on the side. It's to the point with the contract gig that I've got to come up with some new projects in order to keep from going nuts with boredom. My boss's idea of creating a music video out of thin air has proven to be troublesome.
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Sep 18, 2009 09:24
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Rogetz posted:7 Grand for a student camera? drat, I wish I was related to you. That's what I was thinking. Panasonic's line of consumer AVCHD cameras are a great value. No it's not a pro camera but when she needs to learn about pro gear she can rent. Having a simple camera can really help someone overwhelmed by new technology focus on the story and direction. Those are the sorts of things you're suppose to be learning in film school anyway.
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Sep 29, 2009 01:31
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Rogetz posted:A theory and research school with a dying film program. Well, the first school I went to that's pretty much true. Film students don't need to own an HPX, that was pretty much my argument.
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Sep 29, 2009 04:23
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SquareDog posted:This is true, but I wish I owned one. You're not a freshman film student. or are you? 
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Sep 29, 2009 17:58
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Kitsch Ersatz posted:though we shot in SD and to tape If you liked an HVX 200 while shooting like that, then you'll love it if you use it as intended with P2 cards.
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Sep 29, 2009 21:46
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blambert posted:Yeah I guess I mean 24p, I assumed it was 25P as that's what Scene F5 shows on the display. No P2 cards just DV, guess I just need to go out and experiment. Annoyingly I only have a miniDV to FW400, not 800, so can't do anything on my MBP this evening. So, you're not in Europe? You want 24. Is that an HVX-200 or a DVX-100? Either way if you shooting to tape you're shooting DV 480i. You can shoot 24 but you need to make sure you capture with the right preset in FCP. I don't recall exactly what it's titled but it is DV, 16:9 and 24fps. It might even say something about Panasonic or the DVX-100 on it, it has to remove a pull down for the footage to be useable.
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Oct 1, 2009 22:32
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SquareDog posted:ButteryPancakes are you saying that HVX DV tape can't record HD? Because it can. The HVX-200 can only do DV to tape, not even DVCPRO50. It's bigger brothers, like the HPX-500, can do DVCPROHD to tape.
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Oct 2, 2009 03:19
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SquareDog posted:Well I suppose I've never even USED tape on an HVX outside of intentionally shooting SD (for legal video). But I've used DV tapes in HD on far lesser cameras so I assumed the HVX could too. It can't really? are you sure? I'm 100% sure. All though I was just confused as to which camera the 500 was. Other smaller tape based HD cameras are HDV not DVCPROHD and only use about 1/3 of the bandwidth so recording onto a miniDV tape gives you a more acceptable capacity.
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Oct 2, 2009 05:29
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SquareDog posted:Question for you, have to tested the workflow for their SxS cards? I heard in the past that they're very proprietary and only work in Vegas for some poo poo even though they're .MXF it's like a special Sony .MXF. I've edited it with FCP using a USB reader. Also, Momonari kun, if you have experience with a DVX100 and it's adapters why not just use an HVX? butterypancakes fucked around with this message at 20:53 on Oct 2, 2009 |
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Oct 2, 2009 20:49
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Momonari kun posted:I posted in the post production thread in SH/SC I'm not sure I've ever seen that thread. You sorta screwed yourself over by not just using log and transfer in FCP. Try and export them out of VLC with the "dummy" codec it should just put the same video in a new container. Quicktime's MPEG-2 playback component should be enough to decode the resulting files. I'd then convert them to ProRes with compressor. If only MPEG Streamclip read MXF files.
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Oct 3, 2009 03:08
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The post thread in SH/SC seems neat, but I don't really want to post here, there and then still answer questions in TA/VA. Filmy Filmmakers was just ahead of it's time.
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Oct 3, 2009 03:20
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Just export the video and then the audio to a wav. You can use the merge command in FCP to edit them as one clip.
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Oct 3, 2009 04:25
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Andraste posted:I don't have all the software, but I'm sure I can get my hands on it. RedCine is available on their website or could just do it all with Final Cut Studio.
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Oct 7, 2009 05:09
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Hrm, I'm starting to question someone's commitment to sparkle motion... No worries, I'm pretty sure I can handle the Evil Santa pitch.
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Oct 7, 2009 23:41
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Senduit it to me and I'll see what I can do.
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Oct 18, 2009 22:13
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I use to edit a lot of XL2 footage, how much difference do those presets make? Even if you don't have some sweet color grading skills couldn't you just replicate most of that with Magic Bullet?
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Oct 21, 2009 17:59
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Wouldn't you need a gently caress ton of Kinos to do anything worth while EXT NIGHT? Tungsten sounds like a better choice, 10ks are a good time.
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Nov 13, 2009 22:48
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SquareDog posted:It will be the ultimate student film. Don't forget the exaggerated and misplaced profanity.
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Dec 27, 2009 01:13
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Dr. Fishopolis posted:Twixtor has saved my rear end more times than I can count. It's effectively the same thing as the optical flow built into Motion, so if you already have final cut studio, try that first. Spaceman's right about cross motion, it can be a big problem with complex backgrounds and deep DOF, but for almost everything else it's magically wonderful. I wouldn't pay money for Twixtor, I've had better results with just Motion's optical flow.
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Dec 31, 2009 07:27
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I cut my teeth doing broadcast directing for random public access shows. Great experience that is hard to get elsewhere.
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Jan 26, 2010 23:04
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You can shoot HDV on any miniDV tapes. There is an increased chance of drop outs but I've only got that once, at the beginning of a tape, with my office's XH A1s.
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Feb 2, 2010 18:01
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Even Beta SP/SX or VHS/SVHS tapes are basically the same thing. Decks only knew what kind of tape it was by an arrangement of holes in the case. There use to be decent money in making a simple jig and drilling holes in cheap tapes.
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Feb 2, 2010 19:17
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Dr. Fishopolis posted:Transcoded everything to prores which was a giant pain in the balls. Really? I love myself some ProRes. MPEG-2 is a bitch to edit, I'd rather not shoot HDV or XDCAM. butterypancakes fucked around with this message at 23:20 on Feb 11, 2010 |
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Feb 11, 2010 23:18
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Dr. Fishopolis posted:What's wrong with MPEG-2? I've never had a problem with it. Encoding it to ProRes before editing for one. Color sampling and bit rate for another. I just greatly prefer DVCPROHD.
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Feb 11, 2010 23:35
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Dr. Fishopolis posted:You don't have to transcode to edit HDV or XDCAM, every editor I'm aware of handles them natively. No, you don't have to, but the footage is just easier to move between programs if you transcode it first off. In FCP I transcode as I capture to ProRes and in Media Composer I go to DNXHD. You also avoid problems with the lack of I frames and some interpolation issues with 60i footage. It's just a good practice.
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Feb 12, 2010 00:51
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If you're editing HDV in Media Composer you can't export back out natively to HDV without generation loss, 25mbps HDV generation loss. If you just go to DNXHD, which is much higher quality, you can avoid the trappings of an inter-frame codec. Final Cut is similar, anything other than cuts only will result in generation loss on export. If you're taking things between your editor and AE it makes sense to just re-encode your footage once and be done with it. Inter-frame codecs are not ideal for editing for many reasons and this workflow avoids those problems.
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Feb 12, 2010 01:10
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OS X has a capture utility built in, I would assume it supports that camera. As for post, I'd import the images as an image sequence into After Effects. Shoot the native resolution of the camera, 720p should be fine for the video.
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Feb 19, 2010 02:57
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Willie Tomg posted:Lacking After Effects, you can do it in Quicktime as well. In QT 7 (not X) you can open an image sequence, save it as a QuickTime, and then edit that in any editor.
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Feb 20, 2010 18:29
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I can't recommond any specific cameras, but I'm a huge fan of AVCHD as opposed to HDV. Also, a used HVX-200 might even be in your price range these days.
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Feb 24, 2010 17:21
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1st AD posted:Wow, the HMC40 looks like the perfect camera for my current level, so the big question for me is how much render is involved when you plug it into FCP? Would I want to set a sequence to ProRes or Apple Intermediate Codec? I plan on using a lot of titles and some After Effects/Motion. FCP transcodes AVCHD to ProRes by default through log and transfer. It's native from there on out.
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Feb 24, 2010 23:08
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At home I have a slower Core Duo MBP and I can capture HDV and transcode it at nearly realtime. You'll be fine.
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Feb 25, 2010 00:52
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1st AD posted:How about the LP Micro? It's lightweight and I am only really expecting to use it to assist with shooting subjects up close in low light. Or should I just forget it and pump the gain a little more? We have a couple of those around my office and I can't honestly say they are worth a drat. My boss likes to spend money, so we have them, but I would never have bought anything like it.
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Mar 2, 2010 17:49
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As long as you preserve the folder/naming scheme that the camera creates you'll be fine. You simply "add custom path" in the log and transfer window.
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Mar 10, 2010 05:03
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1st AD posted:It was really hard to get shots without massive jitter. Yeah, what was your shutter set to? Is some of that footage slowed down? The description on your YouTube video mentions using Log and Transfer to go to ProRes Proxy. Just go to ProRes or ProRes HQ, there is no reason for that extra step with 720 or even 1080 and ProRes 4444 out of Color is gaining you nothing.
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Mar 15, 2010 19:48
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Ya know, I don't shoot charts all that often. DSLs have their place, it's just a tool. If you're into that look it's an easy way to get it.
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Apr 1, 2010 06:06
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SquareDog posted:https://www.watcinema.com I guess my only other critique would be about the lack of a reel on the first page. Your front page looks nice, but has no real content. Maybe work those images into the header, or just make them smaller and put your main reel on the front page. Setting up Google Analytics and seeing how many people click through to your other pages might influence your decision.
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Apr 2, 2010 02:18
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