Angelo Lorenzo
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Without knowing the content of your video, I’d say between 1mbps and 2mbps will do the trick for that size. Easily above 3G speeds.
Angelo Lorenzo
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https://www.videocopilot.net/tutorials/ (seems like their site is down this exact moment) should have a tutorial on exactly what you want to do. After Effects has some expressions that can tie animation to audio amplitude and so forth.
Angelo Lorenzo
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Select the framerate of the majority of your footage as your deliverable. Video on the web is nonstandardized, flash and html5 players can take any reasonable framerate you can think of.
What worries me is that motion graphics don’t look as good as photographic footage when you change/blend framerates but since you have a mix of both 24 and 29.97 you’ll trade off either way. If these motion graphics templates don’t go with any audio and you don’t mind a slight speed change, I’d change the frame rate interpretation directly. This will stop dropped or blended frames.
Angelo Lorenzo
https://filmsfor.us – Helping you sell your film online
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60p can be interpreted as 24 or 30 fps for a natural slow motion. There are a few prosumer level cameras that do 1080p60… I think the Sony NEX-VG20 is due out next month (it doesn’t have XLR audio inputs so that’s a limiting factor in my mind).
Chances are most slow motion you see is just slowed down in post. You can get away with 50% speed, or 25% if you push it with a plugin like Twixtor. With fast moving objects, its preferred to have a higher framerate capture for a better looking result.
As far as a 5Dmk3, rumors peg its release some time around August of next year. With the release of the 1DX as Canon’s flagship camera, it becomes pretty obvious they don’t want to cannibalize sales right before photographers gear up for Olympics coverage.
Angelo Lorenzo
https://filmsfor.us – Helping you sell your film online
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Not exactly a simple question. What is the size and framerate of your video?
Is this a site for desktops/laptops or a mobile site?
Are you just simply uploading to Vimeo or YouTube?
Angelo Lorenzo
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Speaking of RC helicopters, I second your comment about hiring a tech. I remember speaking to one who told me flying an RC with a camera is more difficult that a full blown helicopter.
Angelo Lorenzo
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Compressor and Quictime’s internal codecs are pretty abysmal in terms of quality and performance. If the finishing house has the hardware working and it’s in your budget, go for it.
It may be worth asking your post house as to the SD-2000’s performance, but 1-pass encoding from some encoders can trip up over scenes with flashing lights or crossfades even at high bitrates. This results in compression blocks that look bad for a few frames. 2-pass encoding, either VBR or CBR (2-pass CBR is rare) uses the first pass to gather analytical data about your video and prevent any quantization errors that might occur on a 1-pass-only encode.
VBR is prevalent on 60min+ dvds as you can squeeze out plenty of quality, but regardless of CBR or VBR I’d go for 2-pass if this will be professional quality.
Angelo Lorenzo
https://filmsfor.us – Helping you sell your film online
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I’m not sure you’d want to. With a piece of hardware that old, I’d venture to guess you’d get an optimized result with a command line software encoder with less hassle than getting an SD-2000 up and running on OS 9.
With that being said, without venturing into paid alternatives like MainConcepts product offerings, I much prefer something like FFMPEG (libavcodec to be specific, as their encoding engine) over Compressor’s use of Quicktime’s MPEG2 encoding. Granted the former still sees visible benefits from a 2-pass encode.
Quite a bit faster since it will multi-thread more effectively as well.
Angelo Lorenzo
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Off the top of my head, the Y-splitter is all you should need. It’s not like you’re changing from mic/line or hi-z/lo-z — it’s mic level all the way through the chain.
I haven’t used my 5D’s internal recorder in a while, but I don’t think they ever updated the firmware to unlink the gain for each stereo channel. The Magic Latern firmware might do it.
I don’t know if your wireless packs have gain adjustments but if they do and you like adjusting them rather than the recorder, you may want to run a test signal to figure out what audio gain setting on the 5DmkII produces unity gain (basically if a test tone reads -6 on the pack, it will read -6 on the camera’s meters).
Angelo Lorenzo
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It seems that you aren’t very familiar with camera specs so let me lay a few out for you.
The 5DmkII is, obviously a dSLR while the XF100 is a camcorder. The difference will dramatically determine your shooting style. The 5DmkII is a slow, cinematic, shooter — for it to be stable and useful you need a lot of support equipment (brackets, monitor, external audio recorder) and the shallow depth of field isn’t conducive for run-and-gun shooting like it sounds that your situation (car racing) calls for.
Let me get this out of the way:
“however I can never seem to match the softness, fast movement focus and depth of field”The 5DmkII has a Super35 equivalent sized sensor while the XF100 has a 1/3″ sensor. The smaller sensor of the XF100 increases depth of field dramatically and, while not useful for a cinematic look, allow for sharper footage useful for news/documentary/reality and so on.
The XF100 also has SLR inputs for audio and a better on-board mic.
The XF100 allows recording at 60 frames per second natively. This is better for slow motion in post production.
The XF100 also records with a better codec — MPEG2 4:2:2 @ 50mbps. The 5DmkII records MPEG4 4:2:0 @ about 35mbps. While MPEG4 is a little more efficient than MPEG2, so the bitrate isn’t directly comparable, 4:2:2 records more color making post production color correction as well as the ability to key out green screen easier.
If you want a full package, I’d go for the XF100. If you want the cinematic look, go for the 5DmkII. The 5DmkII is a very capable camera and I’ve filmed race cars, tv commercials, short films, etc with it. Pull no punches though, if you get a 5DmkII, be prepared to spend at least $1,000 (probably closer to $2000+) in support equipment before it’s as easy to handle as the XF100 in demanding situations.
The only caveat I have is I’ve never used the XF100 in a really low light situation so I can’t comment on its image quality there.
Angelo Lorenzo
https://filmsfor.us – Helping you sell your film online
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