|
Mister Speaker posted:That's what I gathered from the article but I'm having a hard time wrapping my head around it. Is there a fix, or will the recorder always be seeing 60fps (59.94i) as long as these cameras are connected to it? It's gonna record as 59.94i and in post, you can attempt to remove the pulldown. You might have some luck with Resolve since I was on a project that shot with a camcorder that shot 24p but with pulldown to get 59.94i and they managed to get it to pure 24p with Resolve.
|
#
¿
Aug 4, 2020 22:38
|
|
|
|
| # ¿ May 13, 2024 22:15 |
|
|
Mister Speaker posted:Hmm, OK. I wish this was something I could solve at the switcher or recorder level. The raw video at 60fps is huge but that's not too big an issue, I'm more concerned about damaging my gear from overheating - the SSD and recorder itself were quite warm, hot even, after an hour-long DJ set last Sunday. Should I be worried about this? I mean, you can try to see if there's a setting in the recorder or in the cameras if there's a way to change the project frequency to 25 fps. I personally haven't done the Resolve thing myself so I can't comment on it, but my old Panasonic DVX100 does something similar where it records 24 fps with pulldown to record in 59.94i and there were ways back in 2006 to remove the extraneous frames (Sony Vegas used to be able to identify the flags on frames it needed to remove when the footage was recorded with 2:3:3:2). I think it's just a matter of importing the footage into Resolve, going into the file attributes, and setting "interpret footage" to 25 fps. As for the timecode, yeeeeaaaaaah, that might be an issue but I've never had to deal with this in over 15 years. I would definitely do some tests before the next time you shoot so that you can figure out the bugs and be prepared for it.
|
|
#
¿
Aug 5, 2020 00:41
|
|
|
Mister Speaker posted:Not really sure how to ask this but is it A Thing with action cameras that their colour washes out due to overuse or exposure to elements? The last time I used my Sony FDR-X3000s was to record a motorcycle ride; they were in their protective cases mounted to my bike and helmet but it was a bit nippy outside. Early this morning I used them to record a DJ mix and immediately noticed something very off about their colour. I searched on Google about the FDR X3000 and washed out color and apparently the camera has a tendency to overexpose. You try color grading it yet?
|
|
#
¿
Oct 29, 2020 10:05
|
|
|
Yeah, it's probably the natural/vivid setting. The footage looks way more log-y and if you increased the contrast and saturation, you'd probably be able to match it to whatever other footage you had before in vivid.
|
|
#
¿
Oct 31, 2020 22:34
|
|
|
The other option would be getting a dovetail and a base plate to go with it.
|
|
#
¿
Dec 1, 2020 21:04
|
|
|
Mister Speaker posted:Is there any way in Adobe Premiere to automatically track an object in frame and apply a blur or mosaic to it? For example, someone's face moving around in frame... or the speedometer of a motorcycle? This is definitely something that would be easier to do in Resolve with a power window + tracker than in Premiere.
|
|
#
¿
Apr 5, 2021 20:19
|
|
|
I use the Comet Color stuff (particularly Version 2 of Low Con) as my base starting point/monitoring LUT. I find the Gen 4 Extended Video LUT to be too warm, but a welcome improvement over the original Rec709/video LUT, which was way too crunchy and clipped your shadows and highlights badly. I'm hoping BMD extends Gen 5 to the UMP G1 because I would love to burn in the CC Low Con LUT instead of the Extended Video LUT if I'm going to burn in a LUT into Pro Res footage.
|
|
#
¿
Apr 7, 2021 21:24
|
|
|
Mister Speaker posted:I've got a question that's more out of curiosity than anything else. Let's say you're filming a shot that involves a television or computer screen. Usually this means you're looking at some frame/field artifacting from the television's refresh rate disagreeing with that of your camera's sensor. But I've seen media (currently I'm rewatching Snatch; in the opening scene there are CRT monitors shot head-on) where that doesn't really happen. Another good example is any news broadcast that has reporters standing in front of a real, actual screen (as opposed to chromakey). Am I correct in assuming there's got to be some sort of synchronization going on, presumably the same signal you'd run between double-system audio recorders, timecode slates, etc., to your camera? You change your shutter to 144° or 270°. I've also seen film cameras with a sync port for this purpose also.
|
|
#
¿
Apr 15, 2021 06:37
|
|
|
ButtWolf posted:So everything I read said Moza Air 2 was awesome for BMPCC4k with no extra. No idea how to mount this thing. This loving sucks. Honestly, minimum gimbal you should be using for the Pockets is the Zhiyun Crane 3. Has enough room to fit the chassis and play to balance.
|
|
#
¿
Jul 16, 2021 06:19
|
|
|
powderific posted:FWIW the pocket cinema camera is just extremely wide and even my Movi Pro barely fits it. I wish they would have put some of its volume into length or height instead of the goofy wide shape. Yeah, the body is just a horrible design and Blackmagic Design should rightly be chided for it.
|
|
#
¿
Jul 17, 2021 04:20
|
|
|
Poo In An Alleyway posted:Shot my first short film a couple months ago for college despite the assignment being scrapped, I filled it anyway. Thing is we ran out of time on the interior house set we used and I missed out on getting an establishing shot of the exterior of the building with the lead actor and 2 extras at the house entrance, and I didn’t clock that I missed the shot until I brought it all into editing. Can anyone suggest a quick alternative shot I could put together outside the house location to establish the shot without getting the actors back for it? Any possible way I can see the cut?
|
|
#
¿
Jul 31, 2021 17:12
|
|
|
Poo In An Alleyway posted:I’m still doing audio mixing on it at the moment but I can send you something tomorrow at the earliest PM me when you can share it. I probably won't be able to get to it until either tomorrow night or Monday but I'll take a look at it.
|
|
#
¿
Jul 31, 2021 17:27
|
|
|
BonoMan posted:I don't know why my google-fu is not working here, but I'm looking for examples of a specific shot. The one that comes to mind is this shot Michael Ballhaus did in Martha.
|
|
#
¿
Aug 10, 2021 17:49
|
|
|
d0grent posted:Does anyone know of any CTB and CTO color gels with a bowens mount setup? I'm looking for a setup to switch gels quickly on the fly. Just have 24”x20” sheets and C-47 them to whatever you can clip them on to?
|
|
#
¿
Mar 4, 2022 06:21
|
|
|
d0grent posted:not fast enough How fast do you need to change them?
|
|
#
¿
Mar 5, 2022 07:36
|
|
|
d0grent posted:Well I'm currently aiming my main studio light into an big umbrella reflector that has a diffuser on the other end so it's a giant softbox, but it's pretty inconvenient to access the area where I would attach a gel, so something that seems like a minor improvement would actually be exponential for me. Do you have the picture of the setup?
|
|
#
¿
Mar 5, 2022 18:51
|
|
|
|
| # ¿ May 13, 2024 22:15 |
|
|
Yeah, it's hard to recommend cameras without knowing what this videographer is going to be shooting. If you're just shooting stuff on a prelit stage, I could easily see Canon, Sony, or Blackmagic doing well, but if you're doing something in addition like outdoors lowlight material, then Canon or Sony would be better at that.
|
|
#
¿
Apr 25, 2024 18:04
|
|