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I did that a few times back in like, 2009. Output via Avid Mojo to a S-VHS machine set to plain VHS, then did a few dubs back and forth with another S-VHS player. To really get the look to work I had to do stuff like mess with the tracking and a bunch of other settings for recording and playback. Once I had the look I wanted I ingested back through the Mojo-Box. What really stood out to me back then was how I had to REALLY mess up the picture far more than expected because 2009 youtube bitrates hid a lot of noise & distortion. Id actually upload the vid in 1080p60 now to get the interlacing-like high fps look and have all the chroma fuckery visible
Aix fucked around with this message at 15:12 on Nov 16, 2019 |
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Nov 16, 2019 15:00
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| # ¿ May 15, 2024 00:08 |
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thats the insert / overwrite icon, have a look at the buttons to the right of your play-button in the preview window. its not going away. any footage thats still being worked on will just show the yellow multilingual media en attente screen putting huge files in the timeline shouldnt be that big of a deal, tho id prefer to just clip the parts i actually need via three point editing
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Sep 16, 2020 11:19
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sure, having a bunch of footage on your timeline works just fine in premiere or final cut. you can even have two separate sequences open at once (i think sessions are the audio equivalent?) and cut & paste footage from one to the other, to keep things tidy
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Sep 17, 2020 12:33
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imo that looks fine for what it is, thats a pretty dim room, the outdoor footage probably looked better because you had sunlight. try it again outside, id bet the camera will work as it did before. an action cam really shouldnt break from... action
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Oct 29, 2020 16:48
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yeah, comparing the two, other than the whitebalance being different the saturation really did take a weird hit. id bet its that color setting
Aix fucked around with this message at 09:20 on Oct 30, 2020 |
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Oct 30, 2020 09:00
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| # ¿ May 15, 2024 00:08 |
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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? besides the electrical synchronization already mentioned, professional cameras often have the ability to adjust the shutter speed at very small increments - like 1/60.1 or 1/59.9 - so you can fiddle around until youve got a stable picture. this was / is used in eng a lot (obv nowadays with lcds you have to adjust to whatever the monitors backlight is refreshing at, rather than the screen itself, which can be all over the place) Aix fucked around with this message at 07:01 on Apr 19, 2021 |
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Apr 19, 2021 06:59
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