Blaise Douros
Forum Replies Created
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Not unless you have a wireless transmitter that you can plug into the headphone jack. Otherwise, as far as I know, the FS7 doesn’t have any built-in wireless audio capability. I think the NFC is only compatible for use with a wireless Content Browser function.
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“Immature poets imitate; mature poets steal; bad poets deface what they take, and good poets make it into something better, or at least something different”.
–T.S. Eliot
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Picture profiles are all well and good, but any two cameras, even two of the same model, will have very slight differences. A new sensor will inevitably have minor color differences from the previous one. But again–it’s never been easier to color-match.
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If you’re willing to either (a) spend some time up front to create some presets for each camera that help them match, or (b) spend a little time in post, I don’t see a reason not to get the II. It’s never been easier, whether in Resolve or Premiere, to match footage from two cameras, especially with a color checker slate.
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If you had multiple points within that marker, it would improve it, as would a + or x shape.
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This is a toolset that they built in-house, using After Effects’ built-in expressions and scripting tools. Unfortunately, in this case, your only option would be to buy the plugin called “Many, many years of After Effects experience,” along with the “Lots of hard work” expression.
There are plenty of animation programs out there, like Toon Boom, designed specifically for that job. After Effects is not that–it’s a more generalized software that can be customized for use as an animation tool.
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You could also just use the same displacement map source to affect multiple layers, and rather than precomposing them with collapsed transformations, parent the individually displaced layers together in the main comp for motion. That way they will all displace the same way, and move together.
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You just need to precompose again, and include the displacement map in that. The final precomp, with the displacement baked in, is what you should place in 3D space.
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85mm is pretty long on a Super-35 sensor. It’s perfectly usable, but you’d better make sure you have lots of space to do your interviews, because if you want to show more than just a head, you’ll have to pull way back from them. If your interviews are going to be in tighter spaces, you might consider dropping down to a 50 or 60mm lens. Ultra thin DOF is just going to ensure that part of their face isn’t in focus; your 75mm lens at f2.8 should be more than enough to get you good background separation.
As for comparing the two; rent ’em both and see which one you like more.
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They DO look very nice. For what I do, with a total of two-and-a-half editor seats, it would be both overkill and a bit too expensive, though the Jellyfish seems in the reasonable range for a smaller house. If I was stepping up from the QNAP to accommodate more users, I would consider it.