Greg Janza
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COW Coins
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Premiere Pro Coin
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[Robin S. Kurz] “Yeah, Soderbergh has a “good enough” addendum on his production company logo now, too, btw. Since that was clearly HIS whole point as well.”
I think that’s a big part of this discussion. Does the use of this type of disruptive technology actually help the end product? Will an audience become equally engaged in the storytelling with this imagery as opposed to more established formats? And we’re only referring to the visuals since the sound design of these projects is just as elaborate as any traditionally shot project.
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[Steve Connor] “You seem to be arguing that “good enough” and “easy” is the way forward?”
I think you’ve hit on the main problem with this approach. Using your iphone to shoot professional video sounds novel and disruptive but does this approach raise the bar on quality or result in a superior product delivered to your client? Most of the argument that has been laid out here is that a client can’t tell the difference so therefore it’s ok.
Are you offering your clients discounts when pricing out your day rate charge?
If I was a client and you told me that instead of using a Red Raven or a Sony FS7 camera to capture the imagery for a project that instead you planned on using your consumer grade iphone I would want/demand a sizable discount. In addition, I think it might lead to a client questioning your overall professionalism.
“Good enough” is not the tag line that I would want attached to my company name.
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How about providing real information? What file type? What codec? What error message do you receive in Premiere?
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[Robin S. Kurz] “Don’t get it twisted, the iPhone’s no substitute for a 35mm camera; it’s its own thing, and all the better for it.”
I haven’t seen Unsane yet but I have watched the trailer and it’s quite obvious that the visuals are very weak in comparison to a film shot on 35mm like the newly released “A Quiet Place” which I have seen. The question becomes whether an audience can easily get immersed into a story if the technical aspects stand out. Does it become harder to have a suspension of disbelief with an iphone shot film?
Soderbergh has always been a fan of being on the bleeding edge and I have a lot of respect for his efforts to help democratize the industry. To a lesser extent David Lynch could also be noted for his “Inland Empire” which was shot entirely on a Sony DSR-PD150. I recall though, Lynch heavily treating his visuals so it didn’t look like a digital video film.
I also recall with Lynch’s effort that his film involved a lot of sound design which he used to engage the audience since the visuals didn’t help immerse the viewer in the story (although story is as relative term when it comes to Lynch.)
The same might be true for Soderbergh’s film although since it’s a thriller sound design is always a forefront element.
One review of his iphone effort:
In comparison, “A Quiet Place” was shot with traditional 35mm film and it’s a visual tour de force. The cinematography by danish DP Charlotte Bruus Christensen is on an equal level to Bill Butler’s work on Jaws or Vilmos Zsigmond on Close Encounters.
Obviously the iphone vs 35mm is an apples and oranges comparison since an audience is fully conditioned to the look and feel of 35mm. It’s also a matter of 35mm cameras having a variety of lenses to craft that spectacular visual feel.
Here’s an interview article with Christensen that explains her film making approach for “A Quiet Place”:
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[Bill Davis] “Heck, the last few months, I successfully managed to get XLR wireless audio direct into my iPhone X via the lightening port. I can set manual white balance and focus. The images are commensurate with what I had the first 20 years I spent as a shooter – and it’s always with me.”
Advocating for consumer technology to be increasingly adapted into professional environments is really advocating for a complete disruption of the industry as a whole. These advancements are a boon for guerilla style production done on shoestring budgets but it doesn’t necessarily help the overall industry.
This business has been so rewarding to me personally because of it’s collaborative nature. A group of people with specialized skill sets come together to create an artistic product. Each person contributes a creative piece and the end product is better because of it.
DP’s, field sound recordists, lighting technicians, PA’s, field producers, writers, editors, colorists, sound mixers and many more folks are what drive the business.
I think it bears mentioning that the end goal of technology as it relates to video production isn’t to create an all-in-one product that allows one individual to direct, shoot, light, record field sound, produce, edit, color, sound mix and deliver.
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This business is constantly in flux so the notion of being devoted to one particular piece of software or hardware doesn’t make much sense.
If Resolve becomes an NLE that serves post production needs in a more cost efficient and effective manner than the competition, then most likely it’ll be adopted by the marketplace and post professionals will start using it en masse.
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Unfortunately yours is a localized issue. You may want to think about doing a clean install of windows and reloading your Adobe CC programs in order to reset your computer. The level of crashes you’re experiencing is definitely not normal.
It should help to have indexing of your drives turned off though.
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I’m a big fan of Audioengine A2’s. No need for an amplifier and they have multiple inputs.
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[Crescent Diamond] ” Some of the other solutions on this thread about getting an external broadcast monitor might be the best solution, but I am not 100% sure that Premiere will display correctly on those outputs either.”
The only way to see a color accurate image from Premiere is with a fully calibrated external monitor connected through an i/o card.
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One thing that hasn’t been mentioned is if you’ve fully calibrated your computer monitor/s.
If a professional monitor and i/o card such as a Blackmagic decklink isn’t in your budget you should at least pick up a calibration device like the x-rite x1 pro or a spyder and use the open source DisplayCAL to calibrate. Without calibrating your monitor you really can’t troubleshoot any color issues.
Windows 10 Pro
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Nvidia GeForce GTX 970
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Renders/cache: Samsung SSD 950 Pro x2 in Raid 0
Media: Samsung SSD 960 PRO PCIe NVMe M.2 2280
Media: OWC Thunderbay 4 x 2 Raid 0 mirrored with FreeFileSync