Allan Klingler
Forum Replies Created
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Sometimes you have to set boundaries with clients. If they want your help, they need to conform to the patterns you agree on. If that does not work, let someone else shoot it, but the creative process is something I always reserve privilege over if they want to work with me.
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Professional videography since 1996
https://www.tetonvideo.com -
While I have the BCC 9, for that, my preferred tool choice is Autodesk Combustion 4.0 since you can use a hierarchy of layers and control each independently with exactness and lots of control as a compositing application, specialized for its use while integrating so many other layers and elements of different sizes and file types…..You set up a composite that can be frame animated, and then substitute in new elements for a different animation. Once you build the structure once, you can interchange pieces really well. Boris to me is more confusing but it may be a question of having spent a lot more time in the application.
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Professional videography since 1996
https://www.tetonvideo.com -
PAL-M uses a 525 line, 30 frame per second format. In the US our frame rate is the same, but line structure is not. In other PAL countries they use a 625 line version.
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Professional videography since 1996
https://www.tetonvideo.com -
My workaround is to export a piece out and see if its working like I want. Its frustrating, but you are not alone.
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Professional videography since 1996
https://www.tetonvideo.com -
The post is not answered after a while, so I will give it my 2 cents. There is a lot of difference in those formats. some are DV with 480i, some with 720p, and other 1080. Most were never intended to be used on bluray in my opinion. To best pick a best one we need to know your goals an objectives and what you are willing to compromise on. Some are going to have great quality visually, but your length available on your disc will be reduced, and your editing hardware will choke on playback and storage getting it produced. Others, you can put lots of footage on the media, but you are lacking in quality to justify you not being on DVD as your media of choice. Personally, I like the look of 1080p/30FPS and its worth the trouble to put it onto Blu-ray disc. But as much as I like it, if my client is not paying me for the render time and processing costs, its going to be made easier on my part to get it out fast. If I want it future proofed for later use, I at the very least keep my higher res stuff in my library archive. For the question, to me, if you are going to go to the extra work for using bluray instead of DVD, go big. It makes your stuff look great and that is what clients pay for.
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Professional videography since 1996
https://www.tetonvideo.com -
If your source footage is VHS grade level content, why would you stretch it out 6 times to put in 1080P medium bluray discs? I do hundreds of tape to disc conversion projects monthly in my business and its best to convert them to SD M2V/WAV files and put them onto DVDs. The media is less expensive not to mention your investment in processing time on the upconversion and you don’t have to deal with the additional resources on your system resulting from the unnecessary expansion of data to make the detail something that it never had anyway. Other than when a client requests to integrate legacy content on a limited basis, for selected highlights that were edited down, I would recommend avoiding going down that path since this is a case when the HD doesn’t give you anything. Let your SD stay where its best viewed… in SD. That’s my advice.
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Professional videography since 1996
https://www.tetonvideo.com -
I found it… 341 GB of space was cleared from removing the files in:
Great, now I can go back to work. Clearing that was not easy to find and worth the trouble.
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Professional videography since 1996
https://www.tetonvideo.com -
I like the dual layer removable Colombia stuff myself, but thats just me. Its never warm enough.
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Professional videography since 1996
https://www.tetonvideo.com -
I have observed the same phenomenon with my AG-AF100A, it can be an abrupt change in the darkness level. The same can happen with abrupt scenery pans.
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Professional videography since 1996
https://www.tetonvideo.com -
My perceptions so far, is through the menus you can control the brightness levels. The gain levels result in more noise, the more you brighten the scene, the more noticeable the gain is. I would be curious how it looks with the Panasonic recommended lenses. I use an adaptimax lens adapter with canon ef lenses. You won’ t get the control like as in an ENG style lens, but for setup shots they are ok. I have struggled a little bit in the field to have the settings nailed since you can’t effectively verify white balance and overexposure since the view finder is hard to see in the field outdoors. With the shallow depth of field you really have to make a huge effort to really nail the focus. I would love a good macro lens and very low number variable zoom lens. My 18-55 tends to shoot more telephoto than I am liking for indoor setups.
At least with my setup the fast lens or features like image stabilization, are not applicable, since the adapter does not take advantage of the electrical interface on the lens to the camera.
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Professional videography since 1996
https://www.tetonvideo.com
