Colin Mcquillan
Forum Replies Created
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[Jack Rusak] “The author mentioned video “only” made use of about 2000k”
I would imagine he is referring to the width of HD video (1980 pixels wide) as compared to the resolution of still photos.
Like all things it really comes down to application as to whether or not you should be trying to get away with cheap lens’.
You will get sharper, better video from better lens’. In personal tests I have done comparisons between the 50 1.8 and 50 1.4, and also a cheaper 70-300 and a higher end 70-200. There were noticeable differences with the higher end glass producing better pictures and well as smother operation.
You also pay for build quality.
With a higher end lens you will get smoother focusing. Cheaper lens will have some play on the focus ring.
Constant aperture is something to look for as well. For my work, I often am lighting scenes – with this in mind having a variable aperture lower-end lens would be difficult to work with as the iris would change if I zoom the lens to re-frame.Bokeh (smoothness of the out-of-focus areas) will not be as pleasing, as cheaper lenses tend to have fewer aperture blades and a slower max aperture.
Does this mean you need to pay top dollar for top end glass – not necessarily. It comes down to your needs. For broadcast level, high-end event/corporate, or cinematic purposes I would go for the best, fastest glass you can afford. For other purposes maybe you can get away with saving money on cheaper lens’.
Colin McQuillan
Vancouver, B.C. -
[Steve Eisen] “If you do chose the 5D, shoot 720/60 on both the HVX and the 5D.”
the 5D doesn’t shoot 720p60. The 7D does – But I find it looks like junk due to the even larger gaps of line skipping on the chip to achieve the 1280×720 frame size.
Colin McQuillan
Vancouver, B.C. -
IMO 720p60 on the 7D looks awful… the pixel skipping becomes even more evident. If you need slo-mo I’d consider a different camera if possible or shoot 1080p30 and use twixtor to slo-mo as much as you can…
Colin McQuillan
Vancouver, B.C. -
I like Noise Industries sharpen edge filter. Another trick may be to duplicate layers – add a soft edge elliptical mask around your subject on the top layer and use a Gaussian blur to soften the BG on the bottom layer.
Unfortunately the best solution is to reshoot.
Colin McQuillan
Vancouver, B.C. -
[Elizabeth Allen] “What do I do now? I really do not want to reedit this beast.”
No worries – no need to re-cut! What version of FCP are you using? 7 or X?
if X go Share/Apple Devices/Apple TV and voila! If will pump out exactly what you are after.
If in FCP 7 you can do something similar: File/Share/Apple TV.
With either version you can also do this in Compressor and have much more control over what it is doing – but the FCP Share presets do a great job and keep it nice and simple.
Colin McQuillan
Vancouver, B.C. -
There could be corrupt media in the folder or your hard drive may be on the way out.
The only time I have had this issue was trying to import footage from a hard-drive that was failing.
Colin McQuillan
Vancouver, B.C. -
Internal laptop drive? could be your issue there.. You should have your ProRes footage on an external FW800 or eSata drive.
Colin McQuillan
Vancouver, B.C. -
Throw up a frame if you can. As Steve mentioned it could be due to shooting incorrectly around fluorescent lighting – or could be a problem with the camera. Hard to tell without seeing it.
Colin McQuillan
Vancouver, B.C. -
Where is your media stored/playing back from?
Colin McQuillan
Vancouver, B.C. -
[Morten Marthinsen] “converted the footage to Apple XDcam EX 1080i60 (35MB/s)”
convert straight to prores – no reason for xdcam. If you are using FCP7 download the eos plugin from Canon and use the Log and Transfer function to capture the footage from the cards or wherever you stored the files from the cards. Within the L&T interface window you can select which flavour of ProRes you want the footage converted to.
Colin McQuillan
Vancouver, B.C.