Blaise Douros
Forum Replies Created
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In the time it’s taken you to wait for responses, you could have rotoscoped it and been done already. Sometimes taking three hours to rotoscope is better than taking five hours to learn a way to do a task in one hour.
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When I’m shooting to match the two cameras, I shoot the Faithful profile on the 5DIII, and in Custom mode on the FS7 with a standard Rec709 gamma. I can massage the 5DIII footage a little, but I mostly grade the FS7 footage to match the 5DIII, since it has more latitude.
I’m not making use of the full dynamic range of the FS7, but I can’t do that anyway if I’m trying to match a 5DIII. For high-production-value shoots, I’m mostly just shooting the FS7 anyway; I only match the 5DIII (as well as an XA20) for multi-cam shoots.
As far as the 5DIV, only time will tell, but again…why wait for a potential half-assed solution with no integrated audio when there’s a great option out there already?
I haven’t shot the XC10, so I can’t comment other than to say it isn’t that attractive to me.
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No, it doesn’t record to different containers when recording to the card–it will still be MTS. You’ll still need to copy the complete folder structure to your hard drive. I used to have problems with audio not playing in Premiere when I dragged only the MTS files to my drive–copying the whole folder structure will keep that from happening.
Nothing changes when you record to the card vs the camera’s internal memory–the difference is that the camera doesn’t like to act like a card reader. Shooting to card just gets you easy access to the complete folder structure when you plug the card in.
I moved away from the XA10 partially because it didn’t shoot in an mp4 or mov wrapper–that crazy AVCHD MTS format was such a pain. So I’d recommend rewrapping or transcoding your media, just so you have easier access for archiving.
If you don’t like using Handbrake, how about Adobe Media Encoder?
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Hah, I wasn’t referring to you, or anything specifically written in that thread–I didn’t look it up. Just pointing out that sometimes the demeanor around here isn’t friendly to stupid questions–and rightly so, in many cases 🙂
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Posting in the wrong forum, not to mention pointing out that someone already asked the question, is not a good way to be taken any more seriously than your predecessor.
KITT didn’t have much in the way of vocal processing added to it. It was EQ’d to sound like it was coming out of a small speaker, and that’s about it–maybe a very small amount of spatial reverb to make it sound like it was playing in a small space. EQ the low audio frequencies down, and it’ll make the voice sound tinny.
And don’t post audio questions in the After Effects forum…because some of the regulars are a hell of a lot grouchier than me!
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Did you check to make sure that, after updating, the Multicam Sync window was still set up to sync by using clip audio as its reference versus, say, start time, or timecode?
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I haven’t used it in a while, so the following is strictly YMMV. I remember there being a step when plugging the camera into the computer that you needed to do to enable file browsing. You had to press the Playback/Rec button (next to the card slots, the camera/play icon button) when the camera was plugged in to USB. Then you had to select which card/memory slot for the camera to be able to talk to the computer.
If you can, shoot to a card and use a card reader! SD cards are absolutely dirt cheap these days, and you can get a card reader for like, twelve bucks. Way easier.
Make sure to copy the complete file structure, and/or transcode your files to a more browse-able or editable format. The .MTS file structure of that camera is an enormous pain in the butt–you can’t move anything around to group it by folder, so if you had multiple setups or whatever on one card, you just had to deal with it in Premiere.
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I do it all the time. While FS7 is my main, I also have an XA20 and 5DIII. You have to use the Canon camera as your color benchmark, but it’s completely possible.
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When you intend to speed the footage up in post, the shooting framerate doesn’t matter as much (unless you want very specific looks for the motion blur, in which case you’d shoot at 12 fps or something). You’re speeding it up, so you aren’t losing frames. You just need to know what the speed of the music was on-set; 50% speed means you double the speed of the video in post.
However, if you intend to slow the footage down, you need to calculate a shooting framerate that is double the mastering framerate: 48 fps for a 24 fps timeline, or 60 fps for a 30 fps timeline, and speed the music up by 200% from its original (Using the Adobe terminology of 100% being the normal footage speed).
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It’s very likely that they recorded the entire video, or at least the portions with lip synching, at half speed (playing the music at half speed so the singer could lip synch correctly), and then doubled the framerate in post. Looking at the amount of makeup effects appearing on the singer, I would guess that some of those speed ramps disguise cuts so they could apply prosthetics. As visual effects go, it’s not something you can just emulate in post–as Dave points out, you’d have to plan the entire shoot with this in mind.
This is an extremely cool video, and the effect works great for the creepy demonic look they’re going for. I’m going to have to remember this one.