John Young
Forum Replies Created
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Charles, you are using the D800 for video and stills simultaneously?
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Here is an example from our Canon 60D. It takes full HD video which is only 1920 x 1280 pixels. A still photo from that camera (Large and RAW setting) is 5184 x 3456 pixels. That is quite a big difference in resolution and when you have those shots printed (which you will for a wedding) it will show big time.
Also, you will probably shoot video 24 or 30 frames per second. That would be the equivalent of shooting photos with a shutter speed of a 24th or 30th of a second. That is very slow for still photos and you will have a hard time getting shots that are not blurry. Even if you are pulling a frame from a 4K video, there is still going to be some motion blur from 24p image that will make quite a compromised still photo.
John
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The 60D does not have clean HDMI out. No matter what you do you will not be able to get rid of the overlay on the HDMI output.
There is no way to achieve what you are trying to do on the 60D.
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[Rhys Sherring] “Once ive done all that, I need to take it to AE for visual effect elements like gun shots, title and credits. Ive seen various google searches on how to do such a thing. Might i just load the whole PP project into AE? And if i need to i can probably use AE for colour grading i imagine?”
For a project of any size, importing the whole PP project into AE is not really a good option in my opinion. If you make any changes to the length of a clip, using AE to ripple delete & manage audio become completely unwieldy. I suggest working with individual clips for FX then exporting an lossless file back to PP. Then, only when you are picture locked, you can send the entire PP project to AE for color correction.
This thread shows my workflow-
https://forums.creativecow.net/thread/2/1017481 -
I am going to go ahead and respectfully disagree with Steve. Even though your end result may be internet only, that doesn’t mean that properly configured monitor won’t do you any good.
I look at it this way. If my monitor is not set up properly, lets say it has a slight green tint to it, and then I set my project up to that monitor. Then the absolute best that anyone in the entire world will see my project is with an ugly green tint. It will look bad for everyone. However, if you have a calibrated monitor, then for people with good monitors (and internet TVs) the project will look good and for people with bad monitors, the project will look bad.
The line that I draw, since most of the stuff that I do is for internet only distribution as well, is that I don’t need a $5000 Flanders Scientific monitor, but maybe a $500 Dell U2410 IPS panel is a good investment.
John
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That lens is a variable f-stop; f3.5 at 18mm but only f5.6 at 55mm. What f-stops and ISOs are you noticing the problem with?
I would assume that you are seeing more noise when your f-stop is 5.6 and you are having to compensate with an ISO of 800.
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Jonny,
1)-https://forums.adobe.com/thread/662972#.UGyyzXsdTnc.email This should answer your question, at least it did for me.2)- I do not share your opinion on Adobe forums, but I guess you can take or leave this advice if you want.
3)- I guess I do not have any performance benchmark results to offer, but my thinking is that if performance (i.e. speed) is what you are after partitioning doesn’t make a lot of logical sense (could be wrong though, I am not an expert by any stretch). A 7200rpm drive, even if it is partitioned can only spin 7200rpm. So if you are reading from one partition and writing to the other partition, you are still are doing it all on the same drive. One 7200rpm drive for 2 processes. Where as reading from one 7200rpm drive, and writing to another 7200rpm drive would give you twice as much performance (speed). 1 process for each 7200rpm drive. Am I wrong on this?
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In the menu, set “Review Time” to OFF. Pretty simple.
John
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I would bet the ACI codec is the culprit here. I haven’t had first hand experience with ACI, but a quick look at info on the codec shows that it looks like a fairly lossy codec. I would guess that ProRes (for Mac) or DNxHD (for PC) would yeild much better results. And they are free, so that would be the first thing I would do before investing money into another solution.
A couple of points:
-You cannot technically get “broadcast quality” from any DSLR, Canon or otherwise. The BBC for instance, has a minimum of 50mpbs recording bit-rate for cameras used on their broadcasts. No current DSLR can do that (unless the camera is hacked).
-3 chip cameras, 7 years ago considered the best for video quality, have really fallen out of favor in a lot of people’s minds. Three small (1/3″ or 1/2″) sensors still have that flat “video” look. Now people tend to go for one large sensor to get that more dynamic “film” look. And I would guess that is what your competitors are doing.
-The good news is that is what you have with your T3i, despite its limitations, it has a good large sensor. So you may be able to get what you want out of it. There are a lot of things that can go into getting “good quality” out of a DSLR. I would do some heavy research into lenses and ISO to see why you are not getting the “quality” you want out of your camera.John
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https://forums.adobe.com/thread/662972#.UGyyzXsdTnc.email
Simple. Straightfoward.
This helped me out tremendously. Hope it helps you out.\John