[Angelo Lorenzo]

Should be perfectly fine. I’m not familiar with your particular camcorder, but a quick check shows that the actual video codec within both containers (MP4 and MOV) is MPEG-2 which is an industry standard that I know Adobe supports fully.

For your reference, the MP4 container is a “more standardized” container based off of MOV. Apple products like the Quicktime Player and FCP just play nicer with MOV. There is a bug with the Quicktime player that will lag the video and cause it to drift out of sync when you play an MP4; not horribly but you notice.

– Angelo Lorenzo
– Steve Job’s Spirit Inside The iPhone 4S
– https://FilmsFor.Us Sell your film and connect with your audience

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[Angelo Lorenzo]

I would consider getting a set of Zeiss primes for the video shoot.

The 100mm macro will be fine up until your first cut away, then you can go to an 85mm, then cut to a 50mm, then a 35mm or 28 to finish it.

It’s a slightly more expensive route but you’ll probably be happier for two reasons:

1. Zeiss primes are excellent looking on the 5D/7D rigs, used them a number of times.
2. You avoid the issue of depth expansion while you move back because you won’t be zooming the optics. Unless you like that look, generally it’s avoided.
3. You won’t get a really obvious lens mismatch going back to the Canon in what you could consider a “continuous” shot.
4. Canon EF lenses are NOT designed for video use. In the majority of cases, because of the electronic iris, you will get exposure jumps as you move through the zoom range if you pull a zoom while filming. You cannot hide these in post.
5. It’s still less expensive than getting a proper cinema zoom, the iris rods and support system, and a proper zoom and focus control system.

– Angelo Lorenzo
– An iPhone 4S tribute to Steve Jobs
– https://FilmsFor.Us Sell your film and connect with your audience

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[Angelo Lorenzo]

Assuming the F3 (I don’t recall all of the EX3’s outputs), you have SDI SD and SDI HD out. I’m guessing you’re running the SDI HD to the Ki Pro? Why not just run the standard def SDI to a video village?

If the video out BNC connector is composite, you might be able to do wireless with three monitors.

Are you not able to rent field monitors? I feel like I’m missing some detail to your situation, otherwise the answers seem clear if you’re not live mixing.

– Angelo Lorenzo
– An iPhone 4S tribute to Steve Jobs
– https://FilmsFor.Us Sell your film and connect with your audience

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[Angelo Lorenzo]

As far as I know, I think transformations acting on an object need to be applied to that object. In other words, if I want to spin object A, I have to apply the expression to object A, but I can use properties of objects B,C,and D to help influence A.

You may also want to run a different random seed expression on each object.

I don’t use expressions a ton, but I haven’t come across a more global way of applying expressions. Maybe someone can crack it open for both of us.

– Angelo Lorenzo
– An iPhone 4S tribute to Steve Jobs
– https://FilmsFor.Us Sell your film and connect with your audience

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[Angelo Lorenzo]

The primary difference PAL is 25fps, NTSC is 29.97fps. There may also be some behind-the-scenes color tweaking that goes on that may not be perceptible to you.

You usually want to use the setting that matches the standard of the country you’re in so you can hook your camera up to your tv and watch directly from it. It also simplifies the process of burning a dvd that will work with local equipment.

Web video supports a lot of different sizes and framerates. Youtube, for instance, can handle either. At that point it’s more preference as to which framerate you like.

That’s the in-a-nutshell answer.

– Angelo Lorenzo
– An iPhone 4S tribute to Steve Jobs
– https://FilmsFor.Us Sell your film and connect with your audience

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[Angelo Lorenzo]

The issue moreso is with the size of the sensor in the camera.

There are a few things in play but I’ll try to explain them in a clear manner. These are subject distance (closer = more blur), lens focal length (longer = more blur), aperture(more open = more blur), and circle of confusion size (larger = more blur).

Let’s compare a 35mm still camera with your camcorder with it’s 1/3″ sensor.

Subject distance needs no explanation. If the subject is very close to the camera, the throw in focus will seem greater than if the subject and background are both focused near infinity on your lens.

If you use a standard 50mm lens on your still camera, it gives you a field of view (horizontal) of 39.6 degrees. If you want the same angle of view, your 1/3″ sensor camera would use a 4.7mm lens. This is an inherent disadvantage because the lens is designed for the smaller sensor size.

A circle of confusion (CoC) is the largest size of an image area that is acceptably sharp or appears as a point when the lens is focused, it’s the diagonal size of your sensor in mm / 1730. A 35mm camera has a circle of confusion size of about 0.019mm, while your camera has a circle of confusion of about 0.006mm. In practical terms the smaller the sensor or film, the deeper and less cinematic the depth of field is because the CoC stays pretty small, even when out of focus.

Your aperture is the ratio of your focal length to your lens iris. f/2.8 is inherently much smaller on a 4.7mm lens than a 50mm lens. A larger aperture increases the CoC size as things go more out of focus.

https://www.dbp-consulting.com/Photography/CircleOfConfusion.html is a nice demo of CoC and aperture interaction

—

Our own Todd Terry wrote an article about DOF/Lens converters https://magazine.creativecow.net/article/focus-on-controlling-depth-of-field-with-depth-of-field-converters

If you don’t go that route, try to keep your subject close to the camera and use a longer (more zoomed in) lens. You’ll have to compose a little tight, but it’s working with what you got. You can also have some extra ND filters handy to work at f/2.8 or f/4 when you’re outdoors.

– Angelo Lorenzo
– An iPhone 4S tribute to Steve Jobs
– https://FilmsFor.Us Sell your film and connect with your audience

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[Angelo Lorenzo]

I assume you’re using multiple point trackers?

Use Mocha, it’s a program that comes in addition to After Effects. It’s a planar tracker so it’s used to track the perspective of an image plane (like a screen).

Before diving into a bunch of online videos about Mocha, check out their help PDF file. Most of it is written as a step-by-step tutorial and even uses a cell phone screen for the main example.

– Angelo Lorenzo
– An iPhone 4S tribute to Steve Jobs
– https://FilmsFor.Us Sell your film and connect with your audience

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[Angelo Lorenzo]

Actually, I’m pretty sure it is related to Plural Eyes. You may want to submit Adobe and Singular Software a bug report as I recall it happened to me when Plural Eyes for Premiere first came out.

1. With Premiere closed, do this:
Go to C:\Users\YOURNAME\AppData\Roaming\Adobe\Common\Media Cache
and C:\Users\YOURNAME\AppData\Roaming\Adobe\Common\Media Cache Files

and deleting all the files in both folders. These are just cache files and conformed audio/video and can be deleted safely. This should force Premiere Pro to re-conform your work files once it reopens.

2. Start Premiere, open a new project and import the seemly corrupted project into it like you’ve done before.

If memory serves me right, this should work.

– Angelo Lorenzo
– An iPhone 4S tribute to Steve Jobs
– https://FilmsFor.Us Sell your film and connect with your audience

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[Angelo Lorenzo]

What is the source footage from? Straight from camera or some exotic codec/source?

Right click your sequence and select “Sequence Settings” and let us know your preview file format.

Alternately you can “clear the cobwebs” by going to Sequence > Delete Render Files.

Those would be my questions and my starting point.

– Angelo Lorenzo
– An iPhone 4S tribute to Steve Jobs
– https://FilmsFor.Us Sell your film and connect with your audience

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[Angelo Lorenzo]

Kevin,

It’s an interesting debate as the question has been asked numerous times over the years.

Being an employee of Adobe, if there is any flaw in my reasoning based on how Premiere handles color that I’m not aware of then please shed some light.

Here are some of my reasons for using an LCD:
1. Cost, obviously. As much as I would like a 100%+ NTSC gamut monitor, I’ve had to deal with other production considerations. Perhaps I’ll pick one up mid 2012.

2. Most decent monitors are 100% sRGB which comes in at about 72% NTSC coverage. Most consumer displays including LCD and Plasma TVs tend to fall within 70-75% NTSC (I would assume all primary chromaticities are based on ITU 709, but I can’t verify). Granted consumer TVs tend to have more signal level tricks to “enhance” an image; it makes me hesitant to suggest them over a broadcast monitor or even the computer LCD.

3. sRGB and ITU-709 share a nearly identical color space. They use the same white point and primary chromaticities.

4. I’ve been trained and vigorously use scopes when coloring anything going to broadcast. Always passed broadcast spec without engineering notes.

If I worked with more analog footage (SMPTE C) or prepared film transfers, I may move to a broadcast monitor or a Lacie LCD, but I predominately work in US broadcast and web.

– Angelo Lorenzo
– An iPhone 4S tribute to Steve Jobs
– https://FilmsFor.Us Sell your film and connect with your audience

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