Forum Replies Created
September 15, 2021 at 9:38 pm
There’s perhaps a difference between the live streamed signal quality, and downloading the archived local recording afterwards. Shouldn’t be, but i think that’s one place to look for an answer. If I was depending on a system like this for my program, I’d insist on local archive at maximum bit depth, then FTP or mail a drive or whatever, to get the good version. The live version for me only would need to be good enough to check for framing and composition, etc. and to conduct the interview.
If you really need to do everything live… I’ve got nothin’. Except to throw more money at it in terms of higher end cams and encoders, and a provisioner that can handle it.
September 15, 2021 at 9:22 pm
Yeah, I’m not getting any of that out of it. The script has no focus or consistent direction. If English is not your first language, I can understand some of the problem but really, this is just not communicating anything clearly. It looks like placeholder copy in a graphics demo. I don’t mean to be harsh about it; just objective. Step one in making something like this is to communicate a value proposition: “you have a problem and this can fix it in such-and-such a way.” I don’t get that from your copy.
September 15, 2021 at 9:19 pm
I’m told it’s also summer doldrums and traffic will pick up more with the seasons changing. I think there might be something to your opinion about the redesign but also there is a lot more competition from youtube these days. However, anybody that looks at youtube comments in tech subjects for any length of time should probably run screaming back to here, lol.
September 7, 2021 at 7:32 pm
Can you make it work in a fixed position with speedrail, c-clamps, and a couple of folding ladders on either side? Or does it have to act like it’s on a boom? A c-stand by itself might not be enough, once you add the counterweight.
It’s a warehouse, right? Do they have a spare forklift you can rig the light to?
September 7, 2021 at 7:27 pm
I wouldn’t do it in FCPX, but rather in Apple Motion, then import to FCPX.
There’s third-party products from Motion VFX that will let you make and import CGI objects into Motion and FCPX.
September 3, 2021 at 2:24 pm
Random thoughts off the top of my head:
Consider a color gelled light on the plant? If you don’t have a pin spot, maybe use black foil to create a snoot on an existing light?
Are the plants real or fake? Plastic ones, you could dose with gloss or matte sprays to adjust reflectivity. Even airbrush new colors onto them. If they are real, maybe shine them up by misting them with water just before the take.
What’s behind the plant matters, too. Just like when trying to light and shoot a bottle. If there’s brighter material behind the leaves, the whole thing will pop better with a lighter backdrop than if there’s neutral, densely busy, or dark area behind it. The irregular shapes and angles of random leaves and branches means you will get a less “flat” look by side-lighting to enhance contours and textures.
If the shot is locked-off, you could tweak the plant in a masked off window during the color correction step. If the shot moves, you could animate the mask, but that’s more work.
Are you daylight or tungsten balanced? Theoretically if you white balanced under either, it shouldn’t matter, but something like a plant might read better just the same if the balance is daylight.
Crazy idea: if it’s green, is it key-able? Could you add chromakey to the leaves and matte in a brighter leaf color, with a blend mode and opacity adjustment to mix the two? Using a color replacement tool is probably a more elegant way to get there.
Finally. You could buy a very cheap light just for this. Like 20 bucks or less. It will be some work to rig it.
August 26, 2021 at 2:43 pm
The audio forum will have a lot of opinions. I like Audio-Technica and Sennheiser for this, but Rode also makes short shotguns with rechargeable battery power. Your price range will be around 250 and up, with the higher-end shotguns costing as much as your camera, maybe more.
What would help to know is, what you are shooting with this and how you intend to use the shotgun. If you’re for example doing long-distance nature photography and want to capture birdsong, that’s different than putting a directional mic on a pole to grab speech off a person in a news crew interview.
Shotguns are often thought of as specifically for getting a sound from a distance, but really, you should think of them more as a regular mic except with a much higher rejection of unwanted off-axis sounds from the sides. It’s not always the “audio telescope” people think it is.
August 26, 2021 at 2:35 pm
So I took at look at a demo of the software you’re using and I had an idea: because it has multiple track layers, can you create a very simple layer with symbols or colors synched to your music track, then use that as a reference tool for synching your other moves?
I’ve done something like that before in my music-based edits, where I will be cutting to the music. I’ll often cut up a video track by laying down marks to the beat, and just fill the shots with different colors at first, to give a sense of the image pacing, then go back in and replace the colored sections with actual video clips later. It also helps point out to me on the timeline, very quickly and visually, how close I am to completion, as I work the different areas.
August 25, 2021 at 2:05 pm
I did some further research and found some reviews; they’re not kind. I thought maybe these were go-pro knockoffs in a different form factor; they are not even that good. They’re just older model webcams, in a camcorder form factor. The 4k aspect is also a bit of a marketing stretch, as you can only get it in 24P. (sigh). Back to looking at used name-brand gear. Which I don’t mind. But you get what you pay for.
August 24, 2021 at 2:30 pm
What comes to mind is, your dancer only has a limited number of moves, so, once each of the moves is rendered out once, you could copy/paste it into place on the beat you want, everywhere you need that move. Combining the moves then becomes pretty easy. Or am I missing something? I don’t know the software you’re using, so that’s possible.
I have a project on the back burner that imitates your 8-bit look in FCPX, going after the look of early 80’s Midway arcade games. But I’m cheating by taking normal green screen footage, posterizing it, reducing the frame rate with an fx plug-in, then adding the 8-bit blockiness with a filter. What you’re doing, from scratch, is much more complicated.