Blaise Douros
Forum Replies Created
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God, no. The Sony FS7, or even FS5, would be a better long-term investment. Why would you want to shoot low bitrates with no integrated audio, in 2016?
Or, A7SII with XLR K2M adapter for built-in audio–then you still have a more flexible system. You can add an external recorder (Atomos Ninja, or similar) for RAW or ProRes files, and still spend less than on a 1DC, even after a Metabones adapter.
There are some Slog to C-log LUTs out there for easy color space conversions, and all your Canon glass is easily adaptable to Sony’s E-mount with a Metabones adapter.
I was a Canon fiend for years, but after shooting the FS7 for awhile, I’m a complete convert. Sony’s ability to sandwich high-bitrate 4:2:2 codecs into these bodies has made color work feasible again for lower-budget shooters, and the lens flexibility is SO COOL. I can put literally any lens on these E-Mount cameras with the proper adapter because of the short flange. I mostly shoot L glass with a Speedbooster right now, but anything’s possible…Minolta Rokkor? Sure. Contax Zeiss? All day long, even G-series rangefinder lenses. Or Leitz rangefinder lenses.
Not everyone will be as enthused as I am about the current Sony stuff, but I’ll tell you what, when I can go outside and capture blue skies in addition to my subject…makes everything a little more pretty, and I don’t miss those blown-out AVCHD skies a bit.
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Unless you really need to free up a bit of processing power, or if it’s some goofy required standard, there’s no reason to convert to ProRes at all. You don’t gain any dynamic range, resolution, or extra color by doing so; since h.264 inherently has way less color information than ProRes, you might as well work with the original footage. Otherwise, you’re just adding unnecessary steps to your workflow.
If you HAVE to convert, denoise the footage first. That way you aren’t tying up your processor denoising the ProRes footage in real time. But again; there’s no qualitative reason to do so unless you just want to free up processing power during the edit.
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Nobody is being very clear here, so let me reiterate what the good people of this forum are struggling to articulate: the cleanest method to export a file so that the background is transparent is to animate the dots over a completely empty background. Then, export the video using a codec that supports an embedded alpha channel, which is a channel responsible for transparency.
The Animation codec will do this, as will ProRes 4444, and Uncompressed. In fact, here’s a list of a bunch of codecs that will do this: https://www.digitalrebellion.com/blog/posts/list_of_video_formats_supporting_alpha_channels
Then you won’t need to do any keying, which would be inaccurate, especially when the dots are fading in and out. Alpha transparency will allow you to simply put the video on top of whatever the background needs to be…and the transparency is built into the video image.
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As far as I know, AE does not support any kind of distributed processing. I don’t know about C4D but AE won’t do it.
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The Canon t6i is roughly comparable in price. But if I were you, I’d buy a t3i used, and spend the extra money on some good glass. Your lenses matter far more than your camera body for the most part; a pro will replace a body every few years, but you can use great glass with every camera you ever buy, for 20 years or more.
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Correct. Other third-party manufacturers make lenses with the EF mount as well, like Zeiss, Rokinon, Sigma, Tamron, etc…but the EF mount is Canon’s design.
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A lot of AE problems become simple if you approach them in a different light (har har). As long as that object is the only thing in 3D space that matters, you just rotate the whole world around that object!
I basically did the same thing in this intro to a web video:
https://www.youtube.com/watch?v=FPNFo5M_1Mo
The third shot is a big spinning piece of carbon fiber with text around it; the carbon is actually spinning on a wire, but I tracked it with the 3D Camera Tracker and made the camera “orbit” in space to follow its motion. Then all I had to do was place the text and particles; I didn’t have to animate them, because the camera does all the work.
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You could always parent the light to the camera, so that the lights and camera don’t move in relation to each other.
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Yes, APS-C lenses will cover Super-35. I tend to prefer FF glass because it’s usually higher quality, and I can then use it for my stills work on FF bodies.
However, if you intend to shoot video, in my completely unsolicited opinion, Nikon is kind of your worst choice. Their lenses focus in the opposite direction from everyone else, and they are behind the curve in their video features and codecs. If you intend to step up to any of the cameras you named in your original post, investing in an EF-based lens system would be beneficial, since most of those cameras come standard with or are easily adaptable from EF glass.
EF mounts will also accept a lot of adapted vintage glass, but F-mount will not accept nearly any mount adapters because of the long flange depth. So, shooting an EF-mount camera (or Sony E-mount, also a stellar option) will afford you the ability to use a wider variety of glass.
Sorry for the OT response, but it sounds like you’re just taking your steps into this world, and it pays to have all the information before locking yourself into gear that’s familiar from the stills world but might not be ideal for video.
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When you create a 3D layer, you also want to create a camera, so that you can control the length and placement of the virtual camera and lens focal length. It looks to me like AE is defaulting to an extremely wide-angle virtual lens, placed very close to your object; hence, when you rotate it, it’s showing virtual distortion from the width of the lens. Creating a camera with a longer focal length will flatten that distortion when the layer rotates.