John-erling Holmenes fredriksen
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Well, my experience is mostly in After Effects, but I have dabbled a bit with Shake. As far as I can see, After Effects is more of an allrounder, with better ability to work with motion graphics, while Shake is a much more specialized compositing program. Again, I have very little experience with Shake, but the workflow appealed to me.
I have done a lot of compositing in After Effects, and it has so far covered all my needs. Just needs a bit of creativity to find the right solutions. It’s no problem tracking moving footage, and adding muzzle flair, clouds, replace skies, faces of actors, combine greenscreen shots with other footage, etc.
As for duplicating people, and making a realistic crowd, I have never looked into it. But it sounds to me like you could have a hard time doing your cop-trick with three actors in a moving shot. I am not saying it can’t be done, but it sounds to me like a big effort.
Oh, and don’t depend too much on my answers. Compositing is not my main profession, I have done it for some music videos and short films, but mostly just to give myself a challenge. My main line of work is cinematography.
John-Erling Holmenes Fredriksen
https://www.runaroundfilm.no/ -
Just remember that the video you get from a DVD is compressed, and will be lower quality than your original material (I am guessing the originals were DV or better). What I am saying is, if you have a way of getting the original material instead of the material from the DVD, that would be the best option for quality.
John-Erling Holmenes Fredriksen
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Another advantage of using a prime is that it doesn’t “zoom” when doing focus work. If you do a long focus pull on a zoom, you will notice it does a bit of zooming as well.
That being said, I have seen a lot of good use of zoom lenses to achieve a certain effect, especially in caotic shots (battles, accidents, fights, etc).
Other than that, Chris has got it covered.
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So if you use an adapter for film lenses on your Panasonic, you’re better off.
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I would love to know the same. Sony tells me new technology allows them to put more into less space, but I’m not buying into it. There has to be a tradeoff of some sort. I’d hate to come home with XDCAM HD footage that I can’t touch in post because it’s so compressed.
At the moment I would rather go for the Panasonic models that shoot DVCPRO HD (the Varicam seems to do a great job, eager to see what the cheap HVX200 can do).
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Yep, gotta trigger all the settings that affect exposure in some way. Same with PD150 and 170. You would think that when you switch the camera from “auto” to “manual”, it would actually be in manual mode, but as you can see it isn’t. You still have to find each specific setting you would like to control, and switch it from auto to manual by selecting it. Usually it’s no problem, but when you have three different ways of adjusting exposure, it’s easy to forget one of them. At least with PD150 and 170 it remembers which settings you like to control, don’t know about the HDV though.